LIBRARY 

UNIVERSITY  OF  CALIFORNIA 
RIVERSIDE 


That  place  that  does  contain  my  books, 

the  best  companions,  is 
To  me  a  glorious  court  where  hourly  I 
Converse  with  the   old    sages    and  phil- 
osophers. 


NOYES  REYNOLDS 
HIS    BO  OK 


J 

•frafW 


IL   VENTAGLIO 

(THE   FAN) 

A  COMEDY  IN  THREE  ACTS 

BY 

CARLO  GOLDONI 

TRANSLATED  FOR 

THE  YALE  UNIVERSITY 
DRAMATIC  ASSOCIATION 

(INCORPORATED) 

By  KENNETH  MCKENZIE 

Assistant  Professor  of  Italian  in  Yale  University 

WITH  AN  INTRODUCTION 


<i 


NEW  HAVEN,  CONN. 

PUBLISHED  UNDER  THE  SUPERVISION  OF 
ALLEN  SKINNER  HUBBARD,  ign 


Copyright,  igio, 
Bv  THE  YALE  UNIVERSITY  DRAMATIC  ASSOCIATION. 


THE  TUTTLE,  MOREHOUSE  &  TAYLOR  COMPANY 
NEW  HAVEN,  CONN. 


THIS  VOLUME  IS  RESPECTFULLY  DEDICATED  TO 

PROFESSOR  WILLIAM  LYON  PHELPS 

WHOSE  ASSISTANCE  TO  THE  YALE  UNIVERSITY 

DRAMATIC  ASSOCIATION   HAS  OFTEN  BEEN 

REQUESTED   AND    HAS    NEVER 

BEEN  REFUSED 


INTRODUCTION. 

In  the  year  1907  Italy  celebrated  with  genuine  enthusiasm 
the  two-hundredth  anniversary  of  the  birth  of  her  most 
famous  dramatist,  Carlo  Goldoni.  Great  as  was  his  fame 
during  his  lifetime,  it  has  since  increased.  His  plays,  pub- 
lished in  countless  editions,  still  hold  their  place  on  the 
Italian  stage.  Books  and  articles  concerning  the  man  and 
his  work  have  appeared  by  the  hundred.  Comparatively 
few  of  his  plays,  however,  have  been  translated  into  for- 
eign languages,  or  are  known  outside  Italy.  The  Yale 
Dramatic  Association  is,  therefore,  performing  a  real  ser- 
vice to  literature  and  to  dramatic  art  in  producing  one  of 
his  representative  comedies  before  American  audiences. 

Not  only  did  Goldoni  enrich  dramatic  literature  with 
some  two  hundred  plays  of  various  kinds,  but  also,  finding 
the  drama  in  Italy  in  a  deplorable  condition,  he  reformed  it, 
still  keeping  it  thoroughly  Italian,  and  laid  foundations  for 
future  development.  Like  Shakespeare  and  Moliere,  he 
was  a  theatrical  director,  and  wrote  his  plays  for  immediate 
production  on  the  stage.  An  amiable  spectator  of  the  life 
around  him,  a  keen  observer  of  the  weaknesses  of  human 
nature,  he  gives  us  a  vivid  picture  of  his  age — the  eight- 
eenth century  on  the  eve  of  the  Revolution.  In  calling  him 
a  reformer  we  do  not  mean  that  he  had  any  literary  pre- 
tention,  any  purpose  of  preaching  morality  or  of  improving 
social  conditions,  any  interest  in  the  contemporary  intellec- 
tual movements.  Whatever  moral  effect  might  come  from 
his  good-natured  satire  was  incidental.  On  the  other  hand, 
he  devoted  himself  to  reforming  the  theatre  for  its  own 
sake.  While  in  other  respects  he  was  not  a  great  man,  his 


Vi  INTRODUCTION. 

theatrical  genius  compels  the  highest  admiration.  Many 
critics,  in  praising  his  wonderful  ability  to  observe  and 
reproduce  the  types  of  character  and  the  everyday  events 
that  he  saw  around  him,  have  failed  to  point  out  another 
characteristic — his  extraordinary  technical  skill  in  dramatic 
construction.  Inferior  to  Moliere  in  intellectual  grasp  of 
character  and  motive,  he  is  at  least  his  equal  in  inventiveness 
and  in  theatrical  dexterity.  Just  as  Moliere  was  greatly 
influenced  by  the  Italian  drama  of  the  seventeenth  century, 
so  Goldoni  in  turn  looked  to  Moliere  as  his  master.  His 
style  is  not,  however,  an  imitation;  it  is  his  own,  and 
formed  chiefly  from  Italian  influences.  In  him  we  have, 
then,  a  genuinely  Italian  dramatist  who  gives  a  delightful 
picture  of  the  society  of  his  day,  and  who  at  the  same  time 
is  a  great  master  of  the  technique  of  the  drama. 

Not  only  his  comedies,  but  the  incidents  of  his  personal 
history  are  entertaining.  Indeed,  his  Memoires,  written 
in  French  when  he  was  eighty  years  of  age,  read  like  the 
scenes  of  a  play,  and  have  been  called  his  most  amusing 
comedy.  They  concern  chiefly  his  theatrical  experiences, 
and  give  an  excellent  idea  of  the  condition  of  the  stage  in 
Italy  and  France  during  his  life,  while  at  the  same  time 
they  bring  out  his  kindly  and  enthusiastic  disposition,  his 
straightforward  character,  and  his  cheerful  optimism.  In 
short,  his  historical  importance  has  made  him  famous;  his 
personality  has  made  him  beloved  wherever  he  is  known. 

CARLO  GOLDONI  was  born  in  Venice,  February  25,  1707, 
and  died  in  Paris,  February  6,  1793.  Although  he  engaged 
in  various  occupations  in  many  different  places,  the  really 
important  part  of  his  career  is  connected  with  these  two 
cities,  in  which  he  wrote  between  1748  and  1763  his  most 
noteworthy  plays.  All  through  his  life,  however,  he  was 
actively  interested  in  the  theatre,  as  his  father  and  grand- 


INTRODUCTION.  Vll 

father  were  before  him.  At  the  age  of  eight,  he  tells  us, 
he  wrote  his  first  comedy.  Soon  after  this  he  went  with  his 
parents  to  Perugia,  and  at  the  age  of  twelve  he  was  sent 
to  Rimini  to  school;  he  gives  an  amusing  account  of 
running  away  with  a  company  of  actors,  and  joining  his 
mother  at  Chioggia.  After  trying  his  hand  at  his  father's 
profession,  medicine,  he  studied  law  in  various  schools,  and 
finally  was  made  Doctor  of  Laws  at  Padua  in  1731.  Going 
to  Genoa  in  1736  with  a  theatrical  company,  he  there 
married  Nicoletta  Connio,  with  whom  he  lived  happily 
all  the  rest  of  his  life.  For  two  years  he  acted  as  Genoese 
consul  in  Venice,  which  was  still  an  independent  republic. 
From  1744  to  1748  he  practised  law  at  Pisa,  having  gone 
there  chiefly  for  the  purpose  of  perfecting  himself  in  the 
literary  language  of  Tuscany.  One  day  he  received  from 
a  strolling  actor  a  request  for  a  new  comedy,  and  he  gladly 
entered  into  negotiations.  The  result  was  that  in  1748  he 
made  a  contract  with  the  manager  Medebac,  and  returned 
with  him  to  Venice  as  purveyor  of  comedies  to  the  Sant' 
Angelo  Theatre.  Having  acquired  a  knowledge  of  the 
world  and  human  nature  by  years  of  wandering,  and  having 
tried  his  hand  at  various  forms  of  dramatic  composition, 
he  now  entered  seriously  upon  his  life-work. 

In  order  to  understand  the  importance  of  Goldoni's  work, 
we  must  bear  in  mind  the  condition  in  which  he  found 
Italian  drama.  It  seems  strange,  when  we  consider  how 
passionately  fond  the  Italians  are  of  the  theatre,  and  what 
admirable  actors  they  often  make,  that  their  dramatic 
literature  should  not  be  richer  than  it  is.  During  the  six- 
teenth century  great  writers  like  Ariosto  and  Machiavelli 
amused  themselves  by  writing  a  few  comedies  in  imitation 
of  Plautus  and  Terence ;  but  these  remained  without 
permanent  influence,  and  the  literary  drama  gradually  faded 
away  into  the  pastoral.  Then  a  style  of  drama  became 


Vlll  INTRODUCTION. 

prominent  which  had  doubtless  for  centuries  formed  the 
amusement  of  the  uneducated  classes,  the  commedia  del- 
I'arte,  or  comedy  of  professional  actors.  The  actors  wore 
masks,  and  played  certain  conventional  characters  in  every 
play,  the  important  characters  in  northern  Italy  being 
Pantalone,  a  Venetian  merchant ;  the  Doctor,  a  learned  man 
from  Bologna ;  and  two  valets  from  Bergamo,  Brighella  the 
quick-witted,  and  Arlechino  (Harlequin)  the  stupid.  The 
dialogue  in  these  plays  was  improvised  by  the  actors,  who 
developed  extraordinary  skill  in  this  kind  of  acting;  the 
author  furnished  merely  an  outline  of  the  plot  scene  by 
scene,  a  scenario.  No  literary  merit  was  possible  in  such 
plays,  which  by  the  time  of  Goldoni  had  become  little  better 
than  buffoonery.  The  masks  prevented  any  variety  of 
facial  expression,  and  character-drawing  was  out  of  the 
question.  Nevertheless,  this  was  the  only  style  of  comedy 
to  which  Italian  actors  were  accustomed ;  it  was  immensely 
popular  with  the  public,  which  liked  to  see  the  familiar 
figures  in  every  new  play,  and  it  had  great  influence  on 
French  comedy  in  the  seventeenth  century.  Moliere's 
Scapin  is  a  descendant  of  Brighella,  as  his  Geronte  is  of 
Pantalone.  In  Italy,  however,  in  spite  of  a  few  ineffectual 
attempts,  no  one  before  Goldoni  was  able  to  evolve  from 
this  essentially  inartistic  comedy  one  that  should  preserve 
its  good  features — quick  and  lively  action,  natural  and 
colloquial  dialogue,  well-constructed  plot,  thoroughly  Italian 
spirit — while  giving  it  artistic  form.  By  personal  instruc- 
tion Goldoni  succeeded  in  training  his  actors  according  to 
his  own  ideas;  and  he  tactfully  began  his  reform  by 
gradually  making  the  masks  less  and  less  important,  until 
he  was  able  to  eliminate  them  completely,  and  have  the 
entire  play  written  out  and  memorized. 

His  fame  rapidly  spread  from  Venice  all  over  Italy  and 
France,  and  he  was  invited  to  many  cities  to  produce  plays. 


INTRODUCTION.  IX 

In  every  case  he  found  that  the  actors  still  clung  to  their 
old  methods,  and  were  unwilling  to  adopt  his  new  style. 
This  was  particularly  true  in  Rome,  where  in  the  midst  of 
Goldoni's  play,  the  audience  clamored  for  their  favorite 
Neapolitan  mask,  Pulcinella.  Even  in  Venice  Goldoni  met 
with  bitter  opposition  and  hostile  criticism.  He  broke  off 
his  relations  with  Medebac,  for  whom  he  had  written  many 
comedies — sixteen  of  them  in  a  single  season;  and  in 
1752  he  made  a  contract  with  Francesco  Vendramin,  a 
patrician  of  Venice,  to  furnish  eight  comedies  a  year  for 
ten  years,  for  the  San  Luca  Theatre.  Most  of  his  important 
productions  date  from  this  period.  Some  of  the  best  are 
partly  or  wholly  in  the  Venetian  dialect,  as  /  Rusteghi, 
"The  Rustics" ;  Le  Baruffe  Chiozzotte,  "Brawls  at 
Chioggia."  Others,  like  La  Locandiera,  Pamela,  II  Teatro 
Comico,  La  Bottega  del  Caffe,  Un  Curioso  Accidente,  II 
Vero  Amico,  are  entirely  in  the  literary  language  of  Italy, 
the  Tuscan.  The  language  of  Goldoni  is,  to  be  sure, 
criticised  by  purists;  but  he  justified  himself  by  saying 
that  he  drew  his  style  from  actual  conversation,  not  from 
dictionaries  and  grammars. 

Meanwhile  rival  playwrights  appeared  in  Venice — Pietro 
Chiari,  who  attempted  to  diminish  the  success  of  Goldoni's 
pieces  by  imitating  them  as  well  as  his  mediocre  talents 
would  allow;  and  Carlo  Gozzi,  an  eccentric  genius  who 
attracted  crowds  by  his  fantastic  dramatizations  of  familiar 
fairy  tales,  and  who,  like  Goldoni,  has  left  amusing 
Memoirs.  Weary  of  opposition,  Goldoni  accepted  an  invi- 
tation to  go  to  Paris  for  two  years  as  director  of  the 
Comedie  Italienne.  He  left  Venice  with  mingled  pleasure 
and  regret  in  April,  1762,  and  arrived  in  Paris  in  August; 
he  never  saw  Italy  again. 

Once  established  in  Paris,  Goldoni  found  that  the  fight 
against  the  masks  had  to  be  fought  all  over  again.  The 


X  INTRODUCTION. 

Italian  actors  had  been  in  Paris  for  nearly  two  hundred 
years,  the  famous  company  called  /  Gelosi  having  come 
there  in  1577,  to  be  followed  by  other  companies  until  1697. 
Driven  from  France  in  that  year,  the  Italians  were  invited 
in  1716  to  return  and  occupy  the  theatre  of  the  Hotel  de 
Bourgogne,  where  they  remained  until  the  Revolution. 
They  gave  plays  in  French,  as  well  as  opera  comique  (after 
1762),  beside  the  regular  commedia  dell'  arte  in  Italian. 
They  had  invited  Goldoni  from  Venice  in  the  hope  that  his 
prestige  would  save  them  from  financial  ruin.  The 
conditions,  however,  were  not  favorable  for  success;  and 
at  the  expiration  of  his  contract  he  was  ready  to  return 
to  Italy,  when  he  received  an  appointment  as  tutor  in  Italian 
to  the  royal  princesses,  the  daughters  of  Louis  XV.  He  was 
much  esteemed  at  court,  and  knew  the  most  prominent  men 
of  the  day.  In  1771  he  wrote  in  French  for  the  Comedie 
Franchise,  the  rival  of  the  Comedie  Italienne,  one  of  his 
best  known  plays,  Le  Bourru  Bienfaisant,  which  remained 
for  many  years  in  the  repertory,  and  is  also  well  known  in 
Italy  as  //  Burbero  Benefico.  He  was  granted  a  pension, 
but  lost  it  at  the  beginning  of  the  Revolution,  and  for  a 
time  was  in  poverty.  On  a  motion  by  the  poet  Chenier, 
the  Convention  voted  to  restore  his  pension,  but  he  had 
died  on  the  previous  day,  February  6,  1793. 

Before  leaving  Venice,  Goldoni  had  contracted  to  send 
to  Vendramin  for  the  San  Luca  Theatre  a  number  of 
comedies ;  these  might  include  those  intended  primarily  for 
Paris,  if  rewritten  with  a  view  to  production  in  Italy. 
//  Ventaglio  was  produced  in  accordance  with  this  contract, 
as  appears  from  the  following  letters : 

"I  have  determined  upon  a  new  kind  of  comedy,  to  see 
if  I  can  get  good  results  from  these  actors.  They  do  not 
memorize  their  parts,  they  cannot  perform  long,  well- 


INTRODUCTION.  XI 

constructed  scenes ;  accordingly  I  have  made  a  comedy 
with  many  short,  sparkling  scenes,  full  of  movement,  in 
which  the  action  is  more  important  than  the  words.  A 
large  number  of  rehearsals  will  be  required,  as  well  as 
patience  and  care;  but  I  desire  to  see  whether  I  can  make 
a  hit  with  this  new  style.  The  title  of  the  comedy  is  'The 
Fan.'  A  lady's  fan  opens  the  comedy,  brings  it  to  an  end, 
and  is  the  motive  of  the  entire  plot.  The  scene  of  the  three 
acts  is  a  village  square,  with  several  houses  and  shops,  and 
with  roads  leading  off.  At  the  rising  of  the  curtain,  all  the 
characters  are  discovered  on  the  stage,  absorbed  in  various 
occupations.  Each  one  has  something  to  do.  In  order 
to  be  better  understood  by  the  audience,  I  have  made  four 
of  the  characters  speak  French.  I  have  read  the  play  to 
the  company,  and  all  were  pleased  with  it.  If  it  is  acted 
with  spirit,  I  am  confident  that  it  will  make  a  good  effect." 

This  letter  was  written  in  April,  1763.  Two  months 
later  Goldoni  wrote  that  the  comedy  had  been  performed, 
but  without  the  hoped-for  success;  it  proved  to  be  too 
difficult  for  the  actors.  Apparently  it  never  was  printed 
in  its  original  form,  with  some  of  the  characters  speaking 
French.  Goldoni  rewrote  it  in  Italian  throughout,  and  in 
accordance  with  his  contract  with  Vendramin,  sent  it  to 
Venice  in  September,  1764.  He  was  an  excellent  critic  of 
his  own  work,  and  the  following  words  in  a  letter  which 
he  sent  with  the  comedy  are  particularly  interesting  in 
connection  with  the  production  by  the  Yale  Dramatic 
Association : 

"This  grand  comedy,  which  has  cost  me  much  labor,  will 
likewise  require  much  labor  on  the  part  of  the  actors, — 
labor  of  preparation  and  of  extra  rehearsals;  but  it  is  one 
of  those  comedies  that  best  display  the  talent  and  ability 
of  the  actors.  You  will  understand  when  you  read  it  what 
sort  of  a  work  it  is,  but  you  will  understand  better  if  you 
imagine  it  as  being  acted.  You  have  seen  other  comedies 
of  mine  which  were  similar,  but  this  is  the  most  carefully 


X  INTRODUCTION. 

constructed  of  all ;  the  characters  are  consistent  throughout, 
and  the  stage  never  remains  empty.  The  tableau  at  the 
first  rising  of  the  curtain,  and  the  scene  in  pantomime  at 
the  beginning  of  the  third  act,  with  the  action  of  the 
different  characters  going  on  simultaneously  on  all  parts 
of  the  stage,  ought  to  produce  an  excellent  effect.  Urge 
them  to  have  sufficient  rehearsals.  The  success  of  the 
comedy  depends  upon  the  actors,  and  I  feel  sure  of  the 
result." 

Goldoni's  skill  in  technical  construction  is  shown  by  the 
continuous  series  of  amusing  situations  which  follow  one 
another  naturally,  and  by  the  deft  way  in  which  he 
manages  his  crowd  of  characters;  without  any  tiresome 
speeches  of  exposition  and  without  ever  allowing  the  conver- 
sation to  become  general,  he  makes  each  individual  in  turn 
the  centre  of  interest,  and  yet  none  of  the  actors  is  ever  idle ; 
we  get  a  lifelike,  realistic  picture  of  the  leisurely  business 
of  a  country  village,  with  its  ordinary  occupations  and  its 
social  distinctions.  Occasionally  the  action  becomes  far- 
cical, and  the  ingenuity  of  the  plot  suggests  the  influence 
of  the  commedia  dell'  arte;  but  after  all,  the  chief  interest 
of  the  comedy  depends  much  less  upon  its  plot  than  upon 
its  strongly  individualized  types  of  character.  Goldoni's 
reform  consisted  essentially  in  making  the  action  of  a  play 
grow  naturally  out  of  the  characters.  On  the  other  hand, 
he  did  not  attain  the  comedy  of  character,  as  we  find  it  in 
Moliere ;  and  with  all  its  ingenious  plot,  //  Ventaglio  is  not 
so  much  of  a  comedy  of  intrigue  as  a  comedy  of  manners, 
in  which  the  characters,  if  slightly  caricatured,  are  never- 
theless types  drawn  from  actual  life. 

Many  collective  editions  of  Goldoni's  plays  appeared, 
from  1750  on.  In  commemoration  of  the  two-hundredth 
anniversary  the  municipality  of  Venice  has  begun  the  publi- 
cation of  a  monumental  edition.  The  most  comprehensive 


INTRODUCTION.  Xlll 

collection  published  during  Goldoni's  life  was  that  of  Zatta, 
in  forty-four  volumes,  at  Venice,  1788-95 ;  in  the  fourth 
volume  (1789)  77  Ventaglio  was  printed  for  the  first  time. 
Two  plays,  Pamela  and  II  Padre  di  Famiglia,  were  trans- 
lated into  English  by  J.  Nourse,  1756-57;  several  operas 
by  Goldoni  were  adapted  for  the  English  stage  in  the 
eighteenth  century.  Le  Bourru  Bienfaisant  (1849), 
another  play  which  had  followed  it  in  French,  entitled 
L'Avare  Fastueux  (1805),  and  Un  Curioso  Accidente 
(1814)  appeared  separately  in  English,  and  were  published 
in  one  small  volume  together  with  an  anonymous  translation 
of  II  Ventaglio  and  an  introduction  by  Helen  Zimmern,  in 
a  series  called  Masterpieces  of  Foreign  Authors,  London, 
1890,  and  Chicago,  1892.  This  volume  is  now  out  of  print, 
and  the  translation  is  so  stilted  as  to  be  entirely  unsuitable 
for  presentation  on  the  stage.  Three  of  the  plays  in  the 
volume,  with  the  titles  The  Fan,  An  Odd  Misunderstanding, 
The  Beneficent  Bear,  were  reprinted  in  a  de  luxe  edition 
at  New  York  in  1907. 

Mr.  H.  C.  Chatfield-Taylor,  who  is  now  writing  a  life 
of  Goldoni,  kindly  furnishes  the  information  that  II  Ven- 
taglio, translated  into  English  by  Mr.  Henry  B.  Fuller,  was 
performed  at  Chicago  in  1898  and  again  in  1909.  The 
present  writer  has  not  seen  Mr.  Fuller's  translation.  Un 
Curioso  Accidente,  in  the  translation  mentioned  above,  was 
produced  in  1907-8  by  Mr.  Donald  Robertson.  Plays  by 
Goldoni  have  been  presented  in  this  country  in  the  original 
language  by  Eleonora  Duse,  Ermete  Novelli,  and  other 
Italian  actors.  Annotated  editions  of  several  plays  have 
appeared  in  America,  England  and  Germany,  as  well  as 
in  Italy;  they  are  admirably  suited  for  students  of  the 
Italian  language.  The  Memoires  were  first  printed  in  Paris, 
1787;  an  English  translation  by  J.  Black  has  been  pub- 
lished in  various  editions.  Since  Goldoni  is  a  comparatively 


XIV  INTRODUCTION. 

unfamiliar  name  in  America,  the  present  introduction  has 
been  made  more  comprehensive  than  would  otherwise  have 
seemed  necessary.  Further  information  may  be  obtained 
from  Vernon  Lee's  Studies  of  the  Eighteenth  Century  in 
Italy,  P.  Monnier's  Venice  in  the  Eighteenth  Century,  and 
many  other  works. 

In  preparing  the  translation  which  is  now  offered  to  the 
public,  the  effort  has  been  made  to  reproduce  as  faithfully 
as  possible,  and  at  the  same  time  in  conversational  style, 
the  literal  meaning  and  the  spirit  of  the  original.  In 
the  performance  most  of  the  "asides"  are  omitted,  or  are 
indicated  in  pantomime,  since  they  no  longer  seem  natural 
on  the  stage.  Considerable  "stage-business"  is  introduced, 
and  of  this  Goldoni  would  unquestionably  have  approved. 
It  is  hoped  that  in  this  new  dress  the  dainty  eighteenth- 
century  comedy  will  not  fail  to  interest  a  modern  audience. 

Kenneth  McKenzie. 
YALE  UNIVERSITY,  December,  1910. 


THE  YALE  UNIVERSITY  DRAMATIC 
ASSOCIATION 

(INCORPORATED) 

(Founded  February  28th,  1900,  by  Harry  D.  Wescott.) 


OFFICERS 

President, 
EDGAR  MONTILLION  WOOLLEY,  1911. 

Vice  President, 
ARTHUR  MOWRY  HARTWELL,  1911. 

Secretary, 
FRANCIS  BAYARD  RIVES,  1911. 

Manager, 
WILLIAM  ARCHIBALD  McAFEE,  1911. 

Assistant  Manager, 
ALEXANDER  CAMPBELL  TENER,  1912. 

Press  Manager, 
ROBERT  COLEMAN  WALKER,  1911. 

Assistant  Press  Manager, 
PAUL  MACK  WHELAN,  1912. 

HONORARY  MEMBERS. 

MISS  MAUDE  ADAMS. 

PROFESSOR  WILLIAM  LYON  PHELPS. 

PROFESSOR   EDWARD   BLISS   REED. 

PROFESSOR  JOHN  M.  BERDAN. 

MR.  FRANK  LEA  SHORT. 


ACTIVE  MEMBERS. 

1911. 

JAMES  LENOX  BANKS,  JR. 
ARTHUR  AMORY  GAMMELL. 

HAVENS  GRANT. 

EDWARD  HARRAH. 

ARTHUR  MOWRY  HARTWELL. 

CHARLES  VIRGIL  HICKOX,  JR. 

ALLEN  SKINNER  HUBBARD. 

WILLIAM  ARCHIBALD  McAFEE. 

JOHN  VINCENT  McDONNELL. 

WILLIAM  DEFOREST  MANICE. 

SAMUEL  JOHNSON  NEWMAN. 

FRANCIS  BAYARD  RIVES. 

ROBERT  COLEMAN  WALKER. 

EDGAR  MONTILLION  WOOLLEY. 

1911  S. 
IRVING  GOODS  PEED  BEEBE. 

1912. 
WILLIAM  CHRISTIAN  BULLITT,  JR. 

JOHN  CHANDLER. 
JOHN  RUSE  LARUS,  JR. 

EDWARD  STEVENS. 

ALEXANDER  CAMPBELL  TENER. 

DANIEL  GRANT  TOMLINSON. 

PAUL  MACK  WHELAN. 

1913. 

JOSEPH  EPES  BROWN. 

HENRY  AUCHINCLOSS  COLGATE. 

ROBERT  DRISCOLL. 

I9HL.S. 
ROBERT  ERNEST  DWYER. 

1912  L.S. 
THOMAS  HEWES. 

G.  S. 
LOOMIS  HAVEMEYER. 


FRANK  LEA  SHORT, 
Stage  Director. 


THE  YALE  UNIVERSITY  DRAMATIC  ASSOCIATION 

(INCORPORATED) 
TWELFTH  ANNUAL  PRODUCTION 

«IL  VENTAGLIO" 

(THE  FAN) 

A  COMEDY 

Translated  from  the  Italian  of  Carlo  Goldoni 

BY 
PROFESSOR  KENNETH  McKENZIE 

Revised  for  the  Stage  by  Mr.  Frank  Lea  Short 


BRIDGEPORT-Jackson's  Theatre,  December  22d,  WO* 
ALBANY-Harmanus  Bleecker  Hall  December  23d,  WO, 
BUFFALO-Star  Theatre,  December  27th,  WO* 
ERIE-Majestic  Theatre,  December  28th,  WO* 
PITTSBURGH-Nixon  Theatre,  December  29th,  WO* 
WASHINGTON-Columbia  Theatre,  December  30th,  WO* 
BROOKLYN- -Academy  of  Music,  December  31st,  \ 9 JO. 
NEW  YORK-Waldorf -Astoria,  January  2d,  J9JJ 
NEW  HAVEN-Hyperion,  January  14,  WJ. 
NORTHAMPTON-Academy  of  Mask,  January  27th,  W  J* 
HARTFORD-Parsons'  Theatre,  January  28th,  J9Jt. 


FORMER   PRODUCTIONS 


May  23d,  1900. 

"The  Pardoner's  Tale"  of  Chaucer  and  "The  Second 
Shepherd's  Play." 

April  23d  and  24th,  1901. 
Thomas  Heywood's  "The  Fair  Maid  of  the  West." 

October  22d,  1901. 

Bicentennial  Campus  Celebration — Under  Auspices  of  the 
Yale  Dramatic  Association. 

April  23d  and  24th,  1902. 

Sheridan's  "The  Critic"  and  Townley's  "High  Life  Below 
Stairs." 

April  2?th  and  28th,  1903. 
Oliver  Goldsmith's  "The  Good-Natured  Man." 

April  I9th  and  20th,  1904. 
Tom  Taylor's  "New  Men  and  Old  Acres." 

April  4th  and  5th,  and  Carnegie  Lyceum,  New  York,  April  7th,  1905. 
A.  W.  Pinero's  "The  Magistrate." 

April  3d  and  4th,  1906. 
"Shakespeare's  "Henry  IV,  Part  I." 

First  Promenade  Performance,  January  I9th,  1907. 
A.  W.  Pinero's  "The  Amazons." 

April  ist,  Parsons'  Theatre,  Hartford,  Conn.;  April  zd  and  3d, 
Waldorf-Astoria  Hotel,  New  York,  and  April  5th  and  6th,  1907, 
Hyperion  Theatre,  New  Haven. 

Henrik  Ibsen's  "The  Pretenders." 


IL   VENTAGLIO.  XIX 

November  i8th,  1907,  College  Street  Hall. 

"El  Doctor  y  El  Enfermo,"  "Einer  Muss  Heiraten,"  and 

"Le  Pretexte." 

Second  Promenade  Performance,  January  i8th,  1908. 
Oscar  Wilde's  "The  Importance  of  Being  Earnest." 

April   2Oth,    1908,    Waldorf-Astoria   Hotel;    April   2isl,    Parsons' 
Theatre,  Hartford,  Conn.;  April  22d,  Poll's  Theatre,  Waterbury, 
Conn.;  April  24th  and  2$th,  Hyperion  Theatre,  New  Haven. 
Nikolas  V.  Gogol's  "Revizor." 

First  Christmas  Vacation  Trip. 
Charles  Selby's  "The  Fire-Eater"  and  Richard  Brinsley  Sheridan's 

"The  Critic." 

December  soth,  1908,  Parsons'  Theatre,  Hartford;  December  3ist, 
Smith's  Theatre,  Bridgeport;  January  ist,  1909,  Poll's  Theatre, 
Meriden;  January  2d,  Pali's  Theatre,  Waterbury;  January  4th 
and  5th,  Waldorf-Astoria  Hotel,  New  York;  January  i6th, 
Hyperion  Theatre,  New  Haven. 

First  Commencement  Performance. 
Shakespeare's  "The  Merry  Wives  of  Windsor." 
June  26,  1909,  The  Yale  Campus,  New  Haven. 

Second  Christmas  Vacation  Trip. 
Dion  Boucicault's  "London  Assurance." 

December  236,,  1909,  Pali's  Theatre,  Meriden;  December  27th,  New 
National  Theatre,  Washington,  D.  C.;  December  28th,  Albaugh's 
Theatre,  Baltimore;  December  29th,  Bijou  Theatre,  Orange, 
N.  /.;  December  30th,  Jackson's  Theatre,  Bridgeport;  Decem- 
ber 3ist,  Pali's  Theatre,  Waterbury;  January  ist,  1910,  Hart- 
ford Theatre,  Hartford;  January  3d  and  4th,  Waldorf-Astoria 
Hotel,  New  York;  January  8th,  Collingwood  Theatre,  Pough- 
keepsie,  N.  Y.;  January  i5th,  Hyperion  Theatre,  New  Haven; 
January  2 ist,  Academy  of  Music,  Northampton. 

Second  Commencement  Performance. 

Shakespeare's  "Taming  of  the  Shrew." 

June  18,  1910,  The  Yale  Campus,  New  Haven. 


LOCAL    MANAGERS 

Bridgeport — BRONSON  M.  WARREN,  1904. 
Albany — DR.  ERASTUS  CORNING,  1903. 
Buffalo — NORMAN  P.  CLEMENT,  1907. 
Erie — MATTHEW  GRISWOLD,  JR.,  1888  S. 
Pittsburgh — CLINTON  L.  CHILDS,  1901  S. 
Washington — G.  GOULD  LINCOLN,  1902. 
Brooklyn — ROBERT  MALLORY,  1909. 
New  York — GEORGE  S.  CHAPPELL,  1899. 
Hartford — PHILIP  ROBERTS,  1910. 


COMMITTEES 


Stage  Manager. 
LAWRENCE  MARSHALL  CORNWALL,  1912. 

Property  Man. 
HENRY  AUCHINCLOSS  COLGATE,  1913. 

Costume  Committee. 
CHARLES  VIRGIL  HICKOX,  1911.      EDWARD  STEVENS,  1912. 

Book  Editors. 
ALLEN  SKINNER  HUBBARD,  1911.     CAVOUR  HARTLEY,  1912. 


CAST  OF  CHARACTERS 


EVARISTO,  William  DeForest  Manice,  ipn. 

COUNT  OF  ROCCA  MARINA, 

Edgar  Montillion  Woolley,  1911. 

BARON  DEL  CEDRO,  John  Palmer  Parsons,  1912. 

CRESPINO  (shoemaker),  William  Christian  Bullitt,  Jr.,  1912. 
CORONATO  (innkeeper),  Johnfritz  Achelis,  1913. 

TIMOTEO  (druggist),      Earle  Richmond  Cummings,  1914. 
MORACCHIO,  Ramon  Aloysius  Conroy,  1913  S. 

LIMONCINO,  Edward  Stevens,  1912. 

TOGNINO,  Lawrence  Cornwall,  1912. 

SCAVEZZO,  Barnes  Newberry,  1914. 

GIANNINA  (peasant  girl),  Arthur  Mowry  Hartwell,  1911. 
GERTRUDE,  Charles  Virgil  Hickox,  1911. 

CANDIDA,  Rufus  Frederick  King,  1914. 

SUSANNA  (shop  keeper),      Joseph  Epes  Brown,  Jr.,  1913. 


IL  VENTAGLIO 


ACT  FIRST 

SCENE  I. 

All  the  characters  of  the  play  discovered,  as  follows: 
GERTRUDE  and  CANDIDA  sitting  on  the  balcony  of  the  palace, 
embroidering.  EVARISTO  and  the  BARON  in  hunting-costume 
with  their  guns,  sitting  in  front  of  the  cafe  drinking  coffee. 
The  COUNT,  a  country  gentleman  with  a  frock  coat,  straw 
hat  and  cane,  sitting  near  the  door  of  the  apothecary's  shop, 
reading.  TIMOTEO,  in  his  shop,  pounding  in  a  mortar. 
GIANNINA,  near  the  door  of  her  house,  spinning.  SUSANNA, 
sitting  in  front  of  her  shop,  sewing.  CORONATO,  sitting  on 
a  bench  near  the  Inn,  with  a  notebook  and  pencil.  CRESPINO, 
on  his  seat,  working  on  a  shoe.  MORACCHIO,  in  front  of 
GIANNINA'S  house,  holding  a  hunting  dog  by  a  leash  and 
giving  him  bread  to  eat.  SCAVEZZO,  in  front  of  the  Inn, 
plucking  a  fowl.  LIMONCINO,  with  a  tray  in  his  hand,  wait- 
ing for  the  gentlemen  to  finish  their  coffee.  TOGNINO, 
sweeping  in  front  of  the  palace.  At  the  rising  of  the  cur- 
tain all  remain  for  some  time  without  speaking. 

EVARISTO.  ( To  the  BARON.)  What  do  you  think  of  this 
coffee  ? 

BARON.     I  like  it. 

EVA.  I  find  it  delicious.  Good  for  you,  Limoncino ;  this 
morning-  you  have  done  well. 


2  IL  VENTAGLIO. 

LIMONCINO.  Thanks  for  the  compliment,  but  I  beg  you 
not  to  call  me  by  that  name  "Limoncino." 

EVA.  Oh,  nonsense.  Everybody  knows  you  by  that 
name.  You  are  famous  under  the  name  of  Limoncino. 
Everybody  says,  "Let's  go  to  the  Case  Nuove  to  drink 
coffee  at  Limoncino's."  Are  you  offended  at  that? 

LIM.     But,  sir,  it's  not  my  name. 

BARON.  Oh,  very  well;  from  now  on  we'll  not  call  you 
"Limoncino,"  the  "Little  Lemon";  we'll  call  you  "Little 
Orange,"  or  "Little  Pear." 

LIM.     I  tell  you,  I'm  not  the  man  to  be  made  a  fool  of. 

(CANDIDA  laughs.) 

EVA.     What  do  you  say  about  it,  Signora  Candida? 

CANDIDA.  (Fanning  herself,  then  putting  her  fan  on  the 
railing  of  the  balcony.)  What  should  I  say?  This  is  too 
ridiculous,  really. 

GERTRUDE.  Come,  gentlemen,  let  that  poor  fellow  alone. 
He  makes  good  coffee,  and  he  is  under  my  protection. 

BARON.  Oh,  if  he  is  under  the  protection  of  Signora 
Gertrude,  we  must  show  him  respect.  (Aside  to  EVARISTO.) 
Listen ;  the  widow  protects  him. 

EVA.  (To  the  BARON.)  Don't  you  say  anything  against 
Signora  Gertrude.  She  is  the  most  worthy  and  honorable 
lady  in  the  world. 

BARON.  Whatever  you  like.  But  speaking  of  protection, 
do  you  see  the  Count  sitting  there  and  reading  with  the  air 
of  a  magistrate? 

EVA.  So  far  as  he  is  concerned,  you  are  quite  right; 
he's  a  ridiculous  creature.  But  it  is  not  fair  to  compare  him 
with  Signora  Gertrude. 

BARON.  Each  in  his  own  way.  For  my  part,  I  find  them 
both  ridiculous. 


IL   VENTAGLIO.  3 

EVA.     What  do  you  find  ridiculous  in  Signora  Gertrude? 

BARON.  Too  much  affectation,  too  much  dignity,  too 
much  self-sufficiency. 

EVA.     I  beg  your  pardon,  but  you  don't  know  her. 

BARON.  I  think  a  hundred  times  more  of  Signora 
Candida. 

( The  BARON  and  EVARISTO  finish  their  coffee,  rise,  and  give 
the  cups  to  LIMONCINO;  both  wish  to  pay,  but  EVARISTO 
is  anticipated  by  the  BARON.  Exit  LIMONCINO  into  the 
inn.  TIMOTEO  pounds  harder  in  his  mortar.) 

EVA.  Yes,  it  is  true,  the  niece  is  a  fine  girl.  (Aside.) 
I  should  not  like  to  have  this  man  for  my  rival. 

COUNT.     (With  dignity.)     Oh,  Timoteo! 

TIMOTEO.     What  is  it,  sir? 

COUNT.     Your  pounding  annoys  me. 

TIM.  -(Still  pounding.)  I  beg  your  pardon,  sir;  I  am 
sorry. 

COUNT.     I  can't  read,  you  deafen  me. 

TIM.  (Still  pounding.)  Pardon  me;  I  shall  finish  in  a 
moment. 

CRESPINO.     (Working  and  laughing.)     Oh,  Coronato! 

CORONATO.     What  is  it,  Crespino? 

CRES.  (Pounding  on  a  shoe.)  The  Count  wants  every- 
body to  keep  quiet! 

COUNT.  The  devil  take  your  impertinence!  Are  you 
going  to  pound  all  the  morning? 

CRES.     Sir,  don't  you  see  what  I  am  doing? 

COUNT.     (Scornfully.)    What  are  you  doing? 

CRES.     I  am  mending  your  old  boots. 

COUNT.  (Beginning  to  read  again.)  Keep  quiet  there, 
and  stop  your  nonsense ! 

CRES.     Coronato ! 


4  IL   VENTAGLIO. 

COUNT.  (Getting  uneasy.)  I  can't  stand  this  any 
longer. 

SCAVEZZO.     Moracchio ! 

MORACCHIO.     What  is  it,  Scavezzo  ? 

SCA.     (Imitating  the  COUNT.)     Just  look  at  the  Count ! 

MOR.     Be  quiet,  be  quiet.    He's  a  gentleman. 

SCA.     He's  a  half -starved  gentleman  ! 

GIANNINA.     Moracchio ! 

MOR.     What  do  you  want  ? 

GIA.     What  did  Scavezzo  say? 

MOR.  Nothing,  nothing.  Mind  your  own  business,  and 
go  on  working. 

GIA.  Oh,  how  polite  my  brother  is !  He  always  treats 
me  that  way.  (Aside.)  I  can  scarcely  wait  till  I'm  married. 

SUSANNA.  What  is  it,  Giannina?  What  is  the  matter 
with  you? 

GIA.  Oh,  if  you  knew,  Susanna !  I  don't  think  there  is 
a  more  disagreeable  man  than  my  brother  in  all  the  world ! 

MOR.  I  am  all  right.  What  do  you  mean?  So  long  as 
you  are  under  my  authority  .... 

GIA.  (Angrily.)  Under  your  authority!  I  hope  I 
shall  not  be  very  long  under  your  authority. 

EVA.  (To  MORACCHIO.)  Come,  what  is  the  matter? 
You  are  always  tormenting  that  poor  girl.  She  really 
doesn't  deserve  it. 

GIA.     He  drives  me  crazy. 

MOR.     She  always  wants  to  know  everything. 

EVA.     Come,  come,  that's  enough ! 

BARON.     (To  CANDIDA.)     Evaristo  is  very  sympathetic. 

CAN.     I  agree  with  you  perfectly! 

GER.  (To  CANDIDA.)  Nonsense!  He  does  nothing  but 
criticise  other  people,  and  isn't  at  all  careful  about  what 
he  does  himself! 


IL   VENTAGLIO.  5 

BARON.  (Aside.)  There,  those  are  the  speeches  that  I 
cannot  endure. 

CRES.  (Aside.)  Poor  Giannina;  when  she  is  my  wife 
that  fellow  will  no  longer  torment  her. 

COR.  (Aside.)  Yes,  I  should  want  to  marry  her,  even 
if  it  was  only  to  get  her  away  from  her  brother. 

EVA.     (To  the  BARON.)     Well,  Baron,  shall  we  start? 

BARON.  To  tell  you  the  truth,  this  morning  I  don't  care 
particularly  about  going  to  hunt.  I  got  so  tired  yesterday. 

EVA.     Just  as  you  like.    You  don't  mind  if  I  go  ? 

BARON.  Certainly  not.  (Aside.)  So  much  the  better 
for  me.  I  shall  have  a  chance  to  try  my  luck  with  Candida. 

EVA.     Moracchio ! 

MOR.     Sir? 

EVA.     Has  the  dog  eaten  enough? 

MOR.     Yes,  sir. 

EVA.     Then  get  your  gun  and  come  along. 

MOR.  I  will  go  for  it  at  once.  (To  GIANNINA.)  Here, 
take  this. 

GIA.     What  shall  I  take? 

MOR.     Take  this  dog  until  I  come  back. 

GIA.     Give  him  to  me,  stupid! 

(She  takes  the  dog  and  pets  him.    Exit  MORACCHIO  into 
the  house.) 

COR.  (Aside.)  She  is  certainly  a  good-hearted  girl.  I 
can  scarcely  wait  until  she  is  mine. 

CRES.  (Aside.)  How  charming  she  is  when  she  gives 
caresses !  If  she  pets  the  dog,  how  much  more  will  she  pet 
her  husband ! 

BARON.     Scavezzo ! 

SCA.     Sir  ? 

BARON.     Take  this  gun  and  carry  it  up  to  my  room. 


IL  VENTAGLIO. 


SCA.  Yes,  sir.  (Aside.)  He,  at  least,  is  rich  and  gen- 
erous. Quite  different  from  that  beggar  of  a  Count. 

(Exit  into  the  inn.) 

EVA.  (To  the  Baron.)  Do  you  intend  to  stay  here  all 
day? 

BARON.     Yes,  I  will  rest  in  the  inn. 

EVA.  Give  orders  for  dinner,  I  will  come  and  dine  with 
you. 

BARON.  With  pleasure.  I  will  wait  for  you.  (To  the 
ladies.)  Ladies,  au  revoir!  (Aside.)  I  will  withdraw,  so 
as  not  to  raise  suspicion.  (To  CORONATO.)  I  am  going  to 
my  room;  get  dinner  ready  for  two.  (Exit.) 

COR.     Certainly,  sir.    At  your  orders. 


ACT  FIRST.     SCENE  II. 

Enter  MORACCHIO  from  the  house  with  his  gun;  he  takes 
the  dog  from  GIANNINA. 

MOR.     (To  EVARISTO.)     Here  I  am,  sir,  all  ready  now. 

EVA.  (Taking  his  gun.)  Let  us  be  off.  (To  the  ladies.) 
Ladies,  if  you  will  excuse  me,  I  am  going  to  amuse  myself 
a  little  while  with  my  gun. 

GER.     Certainly,  I  hope  you  will  have  a  good  time. 

CAN.     Good  luck  to  you,  and  good  hunting ! 

EVA.  (To  CANDIDA.)  I  am  certain  to  be  lucky  if  I  am 
favored  by  your  good  wishes. 

CAN.     (To  GERTRUDE.)     He  is  certainly  very  polite. 

GER.  Yes,  that  is  true.  He  is  polite  and  well  mannered ; 
but,  my  niece,  do  not  trust  anyone  whom  you  do  not  know 
thoroughly. 

CAN.     Why  do  you  say  that,  aunt  ? 


IL   VENTAGLIO.  7 

GER.     Because  for  some  time  I  have  had  reason  to  say  it. 

CAN.  I  do  not  think  you  can  have  any  reason  for  critici- 
sing me. 

GER.  No,  I  do  not  complain  of  anything"  you  have  done, 
but  I  warn  you  to  be  careful. 

CAN.  (Aside.)  Oh,  her  warning  is  late!  I  am  already 
as  much  in  love  as  I  ever  can  be. 

EVA.  (To  MORACCHIO.)  Well,  we  are  all  ready.  Let 
us  start.  (To  the  ladies.)  Once  more,  I  am  your  servant. 

GER.     (Rises  to  salute  him.)     I  am  your  servant. 

CAN.  I  am  your  humble  servant.  (She  rises  and  knocks 
the  fan  from  the  railing;  it  falls  to  the  ground.) 

EVA.     (Picking  up  the  fan.)     Oh,  what  a  shame! 

CAN.     It's  nothing,  it's  nothing! 

GER.     Don't  trouble  yourself  ! 

EVA.     The  fan  is  broken.     I  am  terribly  sorry. 

CAN.     Oh,  it  doesn't  matter.     It  is  an  old  fan. 

EVA.     But  I  am  the  cause  of  its  being  broken ! 

GER.     You  must  not  be  troubled  on  that  account. 

EVA.     Allow  me  to  have  the  honor  .... 

GER.  Don't  trouble  yourself.  Give  it  to  the  servant. 
(She  calls.)  Tognino! 

TOGNINO.     Signora ! 

GER.     Take  the  fan. 

TOG.     (To  EVARISTO.)     If  you  please. 

EVA.  If  the  ladies  will  not  allow  me,  take  it.  (Gives  the 
fan  to  TOGNINO,  who  goes  with  it  into  the  house. ) 

CAN.  (To  GERTRUDE.)  Just  see  how  much  trouble  he 
takes  because  the  fan  was  broken ! 

GER.  No  gentleman  could  do  anything  else.  (Aside.) 
I  am  afraid  that  love  has  something  to  do  with  it ! 


o  IL   VENTAGLIO. 

ACT  FIRST.     SCENE  III. 

TOGNINO,  on  the  balcony,  gives  the  fan  to  the  ladies,  who 
examine  it. 

EVA.  (Aside.)  I  am  terribly  sorry  that  the  fan  was 
broken  through  me;  I  must  try  to  make  up  for  it.  (To 
SUSANNA.)  Signora  Susanna! 

Sus.     Sir? 

EVA.  I  should  like  to  have  a  word  with  you.  Let  us  go 
into  the  shop. 

Sus.     Certainly,  sir.     At  your  orders. 

EVA.  (To  MORACCHIO.)  Moracchio,  you  may  go  on 
ahead.  Wait  for  me  at  the  edge  of  the  woods,  and  I  will  be 
with  you  in  a  few  minutes.  (He  goes  into  the  shop  with 
SUSANNA.) 

MOR.  If  we  use  up  our  time  in  this  way,  we  may  catch 
pumpkins,  but  we  won't  catch  any  game!  (Exit  with  dog.} 

GIA.  (Aside,  spinning.)  Thank  heaven,  my  brother  has 
gone.  I  can  scarcely  wait  till  I  have  a  chance  to  say  a  few 
words  to  Crespino,  but  I  don't  want  that  horrid  Coronato  to 
be  present.  He  persecutes  me,  and  I  cannot  endure  him. 

COUNT.  (Reading.)  Oh,  oh,  fine,  fine,  beautiful.  (He 
calls.)  Signora  Gertrude! 

CRES.  What  have  you  found  that  is  so  fine,  Signor 
Count  ? 

COUNT.  What  business  is  it  of  yours?  What  do  you 
know,  you  ignoramus  ? 

CRES.  (Pounding  on  his  shoe.  Aside.)  I  will  wager 
that  I  know  more  than  he  does ! 

GER.     What  have  you  to  say,  Count  ? 

COUNT.  You,  who  are  an  intelligent  woman,  if  you  could 
only  hear  what  I  am  reading !  it  is  a  masterpiece. 

GER.     Is  it  history  ? 


IL  VENTAGLIO.  9 

COUNT.     (Scornfully.)     Eh! 

GER.     Is  it  a  treatise  on  philosophy? 

COUNT.     Oh ! 

GER.     Is  it  some  fine  piece  of  poetry? 

COUNT.     No,  no ! 

GER.     What  is  it,  then? 

COUNT.  It  is  something  stupendous,  marvelous ;  a  trans- 
lation from  the  French.  It  is  a  short  piece  of  fiction,  ordi- 
narily called  a  fable. 

CRES.  How  ridiculous !  A  fable,  stupendous !  Marvel- 
ous! 

GER.     Is  it  by  JEsop  ? 

COUNT.     No. 

GER.     Is  it  by  Monsieur  de  La  Fontaine? 

COUNT.  I  don't  know  the  author ;  but  never  mind,  would 
you  like  to  hear  it  ? 

GER.     I  shall  be  very  happy. 

COUNT.  Wait  a  moment.  Oh,  I  have  lost  the  place.  I 
must  find  it. 

CAN.  (To  GERTRUDE.)  You,  who  read  good  books,  do 
you  like  to  hear  fables  ? 

GER.  Why  not?  If  they  are  cleverly  written,  they  are 
instructive  and  amusing. 

COUNT.     Oh,  I  have  found  it.     Now  listen. 

CRES.     (Pounding.)     The  deuce!     He  reads  fables ! 

COUNT.     (To  CRESPINO.)     Why  do  you  pound  so  hard? 

CRES.     Don't  you  want  me  to  put  the  heels  on  ? 

(TIMOTEO  begins  again  to  pound  in  his  mortar.) 

COUNT.  There  is  that  other  idiot,  who  is  pounding 
again.  Won't  you  stop? 

TIM.     (Still  pounding.)     Sir,  I  am  doing  my  work. 


10  IL   VENTAGLIO. 

COUNT.  (To  GERTRUDE.)  Listen!  "There  was  once 
upon  a  time  a  maiden  of  such  rare  beauty  .  .  .  ."  (To 
TIMOTEO.)  But  do  be  quiet,  or  go  and  pound  somewhere 
else! 

TIM.  (Still  pounding.)  Excuse  me,  sir;  I  pay  my  rent 
and  I  have  no  better  place  than  this  to  work. 

COUNT.  Oh,  go  to  the  devil  with  that  damned  mortar! 
I  can't  read.  I  can't  endure  it.  Signora  Gertrude,  I  will 
come  into  the  house.  You  shall  hear  what  a  fine  fable  this 
is.  You  never  heard  anything  like  it ! 

(Exit  into  the  house.) 

GER.  That  apothecary  is  certainly  a  little  impertinent. 
(To  CANDIDA.)  We  must  go  and  receive  the  Count. 

CAN.  Go,  if  you  like.  You  know  that  I  don't  enjoy 
fables. 

GER.  Never  mind,  you  must  come  for  the  sake  of  polite- 
ness. 

CAN.  (Scornfully.)  Do  I  have  to  be  polite  to  the 
Count  ? 

GER.  My  dear  niece,  you  must  respect  others  if  you 
wish  to  be  respected.  Come  along. 

CAN.  (Starts  to  follow.)  Very  well;  I  will  come,  to 
please  you. 


ACT  FIRST.     SCENE  IV. 
(EVARISTO  and  SUSANNA  enter  from  shop.) 

CAN.  What?  Is  Evaristo  still  here?  Didn't  he  go 
hunting?  I  wonder  why! 

Sus.  (To  EVARISTO.)  You  have  nothing  to  complain 
of.  I  assure  you  that  I  have  given  you  the  fan  at  the 
lowest  possible  price. 


\V.  Di-:F.  MAN  ICE,  1911, 
as  Evaristo. 


IL   VENTAGLIO.  1 1 

EVA.  (Aside.}  Candida  is  no  longer  there.  (To 
SUSANNA.)  I  am  sorry  you  have  nothing  better. 

Sus.  I  have  nothing  either  better  or  worse.  This  is  the 
last  and  only  fan  that  I  have  in  the  shop. 

EVA.     Very  well,  I  shall  have  to  take  this  one. 

Sus.     I  suppose  you  are  going  to  give  it  to  someone? 

EVA.     Certainly,  I  didn't  buy  it  for  myself. 

Sus.     To  Signora  Candida? 

EVA.  (Aside.}  Susanna  is  rather  inquisitive !  (Aloud.) 
Why  do  you  suppose  that  I  am  going  to  give  it  to  Signora 
Candida  ? 

Sus.     Because  I  noticed  that  hers  was  broken. 

EVA.     No,  no ;  I  have  something  else  to  do  with  the  fan. 

Sus.  (Sits  down  and  begins  to  sew.)  Very  well,  give 
to  whomever  you  like.  I  don't  bother  about  other  people's 
affairs. 

EVA.  (Aside.)  She  doesn't  bother  about  them,  but  she 
wants  to  find  them  out.  This  time,  however,  she  did  not 
succeed. 

CAN.  (Coming  forward  on  the  balcony.)  Great  secrets 
with  the  shopkeeper!  I  should  like  very  much  to  know 
what  it  is  about ! 

EVA.     (To  GIANNINA.)     Giannina! 

GIA.     (Seated,  spinning.)     Yes,  sir? 

EVA.     I  should  like  to  ask  you  to  do  me  a  favor. 

GIA.  Why,  certainly !  command  me  if  I  can  be  of  use 
to  you. 

EVA.     I  know  that  Signora  Candida  is  fond  of  you. 

GIA.     Yes,  sir,  she  is  so  kind  as  to  be  a  friend  of  mine. 

EVA.  In  fact,  she  has  asked  me  to  take  an  interest  in 
your  brother. 

GIA.  (Scornfully.)  How  unfortunate  I  am!  Left 
without  father  or  mother,  it  is  my  fate  to  be  under  the 


12  IL  VENTAGLIO. 

authority  of  a  brother  who  is  a  beast.  Yes,  sir,  he  is  really 
a  beast! 

EVA.     Now,  listen  to  me. 

GIA.     Go  on.     Spinning  doesn't  stop  up  my  ears. 

EVA.  (Aside.)  Her  brother  is  a  queer  chap,  sure 
enough ;  but  she  has  her  peculiarities,  also,  it  seems  to  me. 

Sus.  (Aside.)  Is  it  possible  that  he  bought  the  fan 
for  Giannina?  I  don't  believe  so.  (CORONATO  and  CRES- 
PINO  show  curiosity  to  hear  what  EVARISTO  is  saying  to 
GIANNINA,  and  come  forward.) 

CAN.  (Aside,  coming  further  forward  on  the  balcony.) 
Private  interview  with  the  shopkeeper?  Private  interview 
with  Giannina?  I  don't  understand  it  at  all. 

EVA.  (To  GIANNINA.)  May  I  ask  you  to  do  me  a 
favor  ? 

GIA.  Didn't  I  tell  you  that  you  could?  Didn't  I  tell 
you  to  make  use  of  me?  If  my  distaff  embarrasses  you,  I 
will  throw  it  away.  (She  rises  and  throws  away  her 
distaff. ) 

EVA.  (Aside.)  I  feel  like  saying  nothing  more,  but  I 
have  need  of  her. 

CAN.     (Aside.)     What  does  this  all  mean? 

CRES.  (With  boot  and  hammer  in  his  hands,  comes  for- 
ward a  little.  Aside.)  She  throws  away  her  distaff? 

COR.  (Holding  book,  comes  forward  a  little.  Aside.) 
It  seems  to  me  that  the  conversation  is  getting  warm ! 

Sus.  (Aside.)  If  he  made  her  a  present,  she  would 
not  be  so  angry. 

GIA.  (To  EVARISTO.)  Well,  here  I  am;  what  do  you 
want? 

EVA.     Do  be  kind,  Giannina. 

GIA.     I  did  not  know  that  I  had  ever  been  unkind. 

EVA.  Do  you  know  that  Signora  Candida  broke  her 
fan? 


IL   VENTAGLIO.  13 

GIA.     (Sullenly.)     Yes,  sir. 

EVA.     I  have  bought  another  one  from  Susanna. 

GIA.     Very  good. 

EVA.     I  don't  want  Signora  Gertrude  to  know  it. 

GIA.     Quite  right. 

EVA.  But  I  should  like  to  have  you  give  it  privately  to 
Candida. 

GIA.     That  is  something  that  I  cannot  do  for  you. 

EVA.     What  an  ugly  reply! 

CAN.  (Aside.)  He  told  me  he  was  going  to  hunt,  but 
he  is  still  here. 

CRES.  (Coming  further  forward,  and  pretending  to 
work.)  What  wouldn't  I  give  if  I  could  hear! 

COR.  (Comes  forward,  pretending  to  write  in  his  book.) 
I  am  getting  more  and  more  curious ! 

EVA.  (To  GIANNINA.)  Why  are  you  not  willing  to  do 
me  this  favor? 

GIA.     Because  I  haven't  learned  that  business  yet ! 

EVA.  You  take  the  thing  in  the  wrong  way.  Signora 
Candida  is  so  fond  of  you ! 

GIA.  That  is  true,  but  I  do  not  choose  to  be  mixed  up  in 
such  affairs. 

EVA.  She  told  me  that  you  wanted  to  marry  Crespino. 
(He  turns  and  sees  the  two  men  listening.)  What  are 
you  two  doing  ?  What  insolence  is  this  ? 

CRES.     (Sits  down  again.)     I  am  working,  sir. 

COR.  (Sits  down  again.)  Can't  I  walk  up  and  down 
while  I  am  writing? 

CAN.     (Aside.)     They  have  important  secrets. 

Sus.  (Aside.)  What  in  the  world  is  there  about  that 
girl,  that  makes  all  the  men  run  after  her? 

GIA.  (Picking  up  distaff.)  If  you  have  nothing  else 
to  say  to  me,  I  will  go  to  work  again. 


14  IL   VENTAGLIO. 

EVA.  Listen.  Signora  Candida  begged  me  to  take  an 
interest  in  your  behalf,  and  to  see  about  getting  a  dowry 
for  you,  so  that  you  may  marry  Crespino. 

GIA.  (Changes  her  tone  and  throws  away  the  distaff.) 
She  asked  you  that? 

EVA.     Yes,  and  I  am  doing  my  best  to  bring  it  about. 

GIA.     Where  is  the  fan? 

EVA.     Here  in  my  pocket. 

GIA.  Give  it  to  me,  give  it  to  me;  but  don't  let  anybody 
see  it! 

EVA.     (Giving  it  to  her.)     Here  it  is. 

CRES.  (Stretching  his  neck.)  He  is  giving  her  some- 
thing ! 

COR.     (Aside.)     What  can  he  have  given  her? 

Sus.     (Aside.)     He  certainly  gave  her  the  fan! 

CAN.  Oh,  yes,  Evaristo  is  deceiving  me!  What  the 
Count  told  me  is  true. 

EVA.     (To  GIANNINA.)     I  recommend  secrecy. 

GIA.     Just  leave  it  to  me.     Don't  be  afraid. 

EVA.     Good-bye ! 

GIA.     Till  I  see  you  again! 

EVA.     I  recommend  myself  to  you. 

GIA.  (Takes  the  distaff  and  begins  to  work.)  And  I  to 
you. 

EVA.  (About  to  go,  he  sees  CANDIDA  on  the  balcony.) 
Oh,  there  she  is  again  on  the  balcony.  I  wish  I  could  tell 
her  about  the  fan.  Signora  Candida ! 

(CANDIDA  turns  her  back  toward  him  without  replying.} 

EVA.  What  does  this  mean?  Does  she  intend  to  insult 
me?  Impossible!  I  know  that  she  loves  me  and  she 
knows  that  I  adore  her,  and  yet  ....  Oh,  I  see  what  it 
is ;  her  aunt  must  have  been  watching  her,  and  she  did  not 


IL   VENTAGLIO.  15 

want  to  let  her  aunt  see.  Yes,  yes,  that  is  it ;  it  cannot  be 
anything  else.  But  I  must  break  this  silence.  I  must  speak 
to  Signora  Gertrude,  and  obtain  Candida's  hand. 

GIA.  Certainly,  I  am  very  much  obliged  to  Signora 
Candida  for  remembering  me.  Can  I  do  any  less  for  her? 
We  girls  do  favors  for  each  other  without  malice. 

COR.  (To  GIANNINA.)  Great  affairs,  great  secrets  with 
Signer  Evaristo! 

GIA.  What  business  is  that  of  yours?  What  do  you 
care? 

COR.     If  I  didn't  care,  I  wouldn't  speak  of  it. 

(CRESPINO  comes  behind  CORONATO  to  listen.) 

GIA.  You  have  nothing  to  do  with  my  affairs.  You 
have  no  authority  over  me. 

COR.  I  have  nothing  to  do  with  your  affairs,  but  I  shall 
have  very  soon. 

GIA.     Who  says  that? 

COR.  The  one  who  has  authority  over  you  has  said  it, 
he  has  promised  it,  and  he  has  given  me  his  word. 

GIA.     (Laughing.)     My  brother,  I  suppose? 

COR.  Yes,  your  brother;  and  I  shall  tell  him  the  confi- 
dential secrets,  and  the  presents  .... 

CRES.  (Coming  between  the  two.)  Hold  on  there,  my 
dear  sir.  What  intentions  have  you  in  regard  to  this  girl? 

COR.     I  don't  have  to  render  an  account  to  you ! 

CRES.  (To  GIANNINA.)  See  here,  what  secret  have 
you  with  Evaristo? 

GIA.  Leave  me  alone,  both  of  you,  and  don't  bother  me 
any  more ! 

CRES.     I  will  know  it. 

COR.  What  is  that? — "I  will"?  Go  and  give  your  com- 
mands to  those  who  are  under  your  authority.  Giannina 
has  been  promised  to  me  by  her  brother ! 


1 6  IL  VENTAGLIO. 

CRES.  And  she  herself  has  given  her  promise  to  me! 
A  word  from  the  sister  is  worth  more  than  a  hundred 
words  from  the  brother. 

COR.     (To  CRESPINO.)     We  shall  see  about  that. 

CRES.     (To  GIANNINA.)     What  did  Evaristo  give  you? 

GIA.     I  wish  he  would  give  you  the  devil. 

COR.  Now,  see  here!  (Aside.)  I  saw  him  come  out 
of  the  shop.  The  shopkeeper  will  tell  me. 

CRES.     I  suppose  he  bought  a  present. 

GIA.  I  will  say  nothing  about  it.  I  hope  that  Su- 
sanna .... 

COR.  (To  SUSANNA.)  Tell  me,  I  beg  of  you,  what  did 
Signor  Evaristo  buy  of  you? 

Sus.     (Smiling.)     A  fan. 

CRES.     Have  you  any  idea  what  he  gave  to  Giannina? 

Sus.     Why,  the  fan,  of  course. 

GIA.     Nothing  of  the  sort ! 

Sus.     (To  GIANNINA.)     What,  nothing  of  the  sort? 

COR.     (To  GIANNINA,  roughly.)     Show  me  that  fan! 

CRES.  (Pushing  CORONATO  aside.)  It's  none  of  your 
business!  (To  GIANNINA.)  I  want  to  see  that  fan. 

(CORONATO  and  CRESPINO  are  about  to  strike  each  other.) 

GIA.     (To  SUSANNA.)     All  your  fault! 

Sus.     (Angrily.)     My  fault? 

GIA.     You  are  a  tattle-tale! 

Sus.     You  dare  to  call  me  a  tattle-tale  ? 

GIA.     (Raising  her  distaff.)     Look  out,  or  I  swear  .... 

Sus.  (Drawing  back.)  I  will  go,  for  fear  I  may  lose 
my  temper. 

GIA.     Lose  your  temper? 

Sus.  You  are  nothing  but  a  peasant  girl,  and  you  act 
like  one!  (Exit  into  shop.  GIANNINA  tries  to  follow, 
CRESPINO  holds  her  back.) 


IL   VENTAGLIO.  I? 

GIA.     Leave  me  alone! 

CRES.     (Roughly.}     Let  me  see  that  fan! 

GIA.     I  haven't  any  fan ! 

COR.     What  did  Evaristo  give  you  ? 

GIA.     I  tell  you  that  you  are  impertinent ! 

COR.     I  want  to  know  it! 

CRES.  (Pushes  him  aside.)  None  of  your  business,  I 
tell  you! 

GIA.  (Going  toward  her  house.)  This  is  no  way  to 
treat  respectable  girls ! 

CRES.     Please  tell  me,  Giannina. 

GIA.     I  will  tell  you  nothing. 

COR.  (Pushes  CRESPINO  aside.)  I  am  the  one  who 
must  know! 

GIA.  Go  to  the  devil,  both  of  you!  (Goes  into  her 
house  and  shuts  the  door  in  their  faces.) 

COR.     This  insult  to  me  ?    It  is  all  your  fault ! 

CRES.     You  are  impertinent! 

COR.     Don't  make  me  get  angry. 

CRES.     I  am  not  afraid  of  you. 

COR.     Giannina  is  to  be  my  wife. 

CRES.     No,  she  never  will,  or  I  swear  to  Heaven  .... 

COR.  What  do  you  mean  by  these  threats?  Whom  do 
you  think  you  are  dealing  with? 

CRES.     I  am  an  honest  man,  and  everybody  knows  me. 

COR.     And  how  about  me? 

CRES.     I  know  nothing  about  you. 

COR.     I  am  a  respectable  inn-keeper. 

CRES.     Respectable  ? 

COR.     What !  do  you  doubt  it  ? 

CRES.     I  am  not  the  only  one  who  doubts  it. 

COR.     Who,  then? 

CRES.     Everybody  in  the  village. 


1 8  IL   VENTAGLIO. 

COR.  See  here,  my  friend,  I  am  not  the  one  they  talk 
about ;  I  don't  sell  old  second-hand  leather  for  new ! 

CRES.  And  I  don't  sell  water  for  wine,  nor  old  sheep  for 
mutton ;  and  I  don't  go  about  at  night  stealing  cats  to  sell 
them  for  lamb  and  rabbit ! 

COR.     (Raising  his  hand.)     I  swear  to  Heaven  .... 

CRES.     (Raising  his  hand.)     What's  this? 

COR.     (Putting  his  hand  in  his  pocket.)    Corpo  di  bacco! 

CRES.  (Going  to  get  his  hammer.)  His  hand  in  his 
pocket  ? 

COR.     (Picking  up  a  stool.)     I  have  no  knife  with  me! 

(CRESPINO  drops  his  hammer  and  picks  up  a  chair;    they 
are  about  to  strike  one  another.) 


ACT  FIRST.     SCENE  V. 

Enter  TIMOTEO  from  his  shop,  with  pestle;  LIMONCINO 
from  the  cafe,  with  a  stick  of  wood;  SCAVEZZO  from  the 
inn,  with  a  poker;  and  the  COUNT,  from  the  palace,  trying 
to  separate  them. 

COUNT.  (Keeping  at  a  safe  distance.)  Hold  on,  hold 
on,  stop!  stop!  I  command  you.  Here  I  am,  you  beasts, 
I  am  the  Count  di  Rocca  Marina.  Stop,  you  beasts,  I 
command  you. 

CRES.  (To  CORONATO.)  That's  right,  I  have  respect 
for  the  Count. 

COR.  Yes,  you  had  better  thank  the  Count;  otherwise 
I  would  have  broken  your  head. 

COUNT.  Come,  come,  that's  quite  enough.  I  want  to 
know  what  this  quarrel  is  about.  You  other  people  go 
away.  I  am  here,  there  is  no  need  of  anybody  else. 

(LIMONCINO  and  SCAVEZZO  exeunt.) 


IL   VENTAGLIO.  19 

TIM.     Anybody  hurt? 

COUNT.  You  would  like  to  have  them  break  their  heads, 
fracture  their  legs,  or  dislocate  their  arms,  wouldn't  you? 
So  that  you  could  exercise  your  talents,  and  show  your 
skill. 

TIM.  I  wish  no  harm  to  anybody,  but  if  they  had  any 
need,  if  they  were  injured,  wounded,  or  crippled,  I  would 
do  what  I  could  for  them.  I  should  be  especially  glad  in 
such  a  way  to  serve  your  illustrious  lordship. 

COUNT.  You  are  impertinent.  I  will  have  you  sent 
away. 

TIM.     Honest  men  can't  be  sent  away  so  easily. 

COUNT.  We  can  send  away  ignorant,  impertinent  and 
dishonest  apothecaries  like  you! 

TIM.  I  am  surprised  that  you  should  speak  so,  sir; 
remember  that  without  my  pills  you  would  now  be  dead ! 

COUNT.     Insolent  fellow! 

TIM.  And  by  the  way,  you  haven't  paid  for  those  pills 
yet.  (Exit.) 

COR.  (Aside.)  In  this  matter  the  Count  might  be  of 
some  use  to  me. 

COUNT.  Well,  then,  what  has  happened?  What's  the 
matter  with  you?  What  is  the  reason  for  this  quarrel? 

CRES.  I  will  tell  you,  sir.  I  have  no  objections  to  telling 
it  in  the  presence  of  everybody.  I  love  Giannina. 

COR.     And  Giannina  is  to  be  my  wife. 

COUNT.  Ah,  ah,  I  understand;  warfare  of  love,  two 
champions  of  Cupid,  two  valiant  rivals,  two  suitors  for  the 
beautiful  Venus,  the  Goddess  of  Case  Nuove!  (Laugh- 
ing.) 

CRES.  (Starting  to  go  away.)  If  you  think  I  will  let 
myself  be  made  fun  of  .... 

COUNT.     (Stopping  him.)     No,  come  here. 


20  IL   VENTAGLIO. 

COR.     The  thing  is  serious,  I  assure  you. 

COUNT.  Yes,  I  believe  you.  You  are  lovers,  and  you 
are  rivals.  Cospetto  di  Bacco !  What  a  coincidence !  Just 
like  the  fable  which  I  was  reading  to  Signora  Gertrude. 
(Reading  from  his  book.)  "There  was  once  upon  a  time 
a  maiden  of  such  rare  beauty  .  .  .  .  " 

CRES.  (Aside.)  Now  I  see.  (Aloud.)  With  your 
permission  .... 

COUNT.     Where  are  you  going  ?    Come  back  here ! 

CRES.  If  you  permit  me,  I  am  going  to  finish  mending 
your  boots. 

COUNT.  Oh,  yes,  go;  and  see  that  they  are  ready 
to-morrow  morning. 

COR.  And  above  all,  see  that  they  are  not  mended  with 
second-hand  leather! 

CRES.  (To  CORONATO.)  I  will  come  to  your  inn  to  get 
some  new  leather. 

COR.  Thank  Heaven,  I'm  not  a  cobbler,  nor  a  shoe- 
maker ! 

CRES.  That's  all  right,  you  can  give  me  some  horse-hide, 
or  some  cat-skin !  (Exit.) 

COR.  (Aside.)  Certainly  that  fellow  will  have  to  die 
at  my  hands. 

COUNT.  What  was  that  he  said  about  cats  ?  Surely  you 
don't  give  us  cats  to  eat  ? 

COR.  Sir,  I  am  an  honest  man,  and  that  fellow  is  an 
impertinent  rascal  who  persecutes  me. 

COUNT.  This  is  the  result  of  passion  and  rivalry.  So 
you  are  the  lover  of  Giannina  ? 

COR.  Yes,  sir;  and  in  fact,  I  was  just  going  to  recom- 
mend myself  to  your  protection. 

COUNT.  My  protection !  (Putting  on  airs.)  Very  well, 
we  will  see.  Are  you  sure  that  she  returns  your  affection  ? 


IL   VENTAGLIO.  21 

COR.  In  truth,  I'm  afraid  that  she's  more  inclined  to  the 
other  one  than  to  me. 

COUNT.     Unfortunate ! 

COR.     But  I  have  her  brother's  promise. 

COUNT.     I  wouldn't  depend  much  on  that. 

COR.     Moracchio  has  absolutely  promised  her  to  me. 

COUNT.  That's  all  very  well,  but  you  can't  force  a 
woman. 

COR.     Her  brother  can  do  what  he  likes  with  her. 

COUNT.  (Warmly.)  That's  not  true.  Her  brother 
cannot  dispose  of  her. 

COR.     But  with  your  protection  .... 

COUNT.  My  protection  is  all  very  well ;  my  protection  is 
worth  a  good  deal ;  my  protection  has  great  influence.  But 
a  gentleman  like  me  cannot  regulate  and  dispose  of  a 
woman's  love. 

COR.     After  all,  she's  nothing  but  a  peasant. 

COUNT.  What  difference  does  that  make?  A  woman  is 
always  a  woman.  I  distinguish  the  rank  and  the  position, 
but  on  general  principles  I  respect  the  sex. 

COR.     (Aside.)     I  see;  his  protection  is  no  good  at  all! 

COUNT.  How  are  you  off  for  wine?  Have  you  some 
good  wine  on  hand? 

COR.  I  have  some  excellent  wine;  the  best  quality; 
delicious. 

COUNT.  I  will  come  and  taste  it.  My  wine  turned  out 
badly  this  year. 

COR.  (Aside.)  He  has  sold  his  own  wine  for  three 
years. 

COUNT.  If  yours  is  good,  I  will  get  what  I  need  from 
you. 

COR.     (Aside.)     I  don't  care  about  the  honor. 

COUNT.     Did  you  hear  what  I  said? 


22  IL   VENTAGLIO. 

COR.     I  heard. 

COUNT.  Tell  me  something.  If  I  should  speak  to  the 
girl,  and  should  induce  her  by  my  persuasion  .... 

COR.  Your  words  might  perhaps  have  some  effect  in  my 
favor. 

COUNT.     You  certainly  ought  to  be  preferred. 

COR.     It  seems  to  me  that  between  me  and  Crespino  .... 

COUNT.  Oh,  there's  no  comparison.  A  man  like  you, 
an  honest  fellow,  polite  .... 

COR.     You  are  too  kind. 

COUNT.  And  then  it  is  true  that  I  respect  women,  but 
for  this  very  reason,  knowing  them  as  I  do,  I  assure  you 
that  they  do  for  me  what  they  wouldn't  think  of  doing  for 
anybody  else. 

COR.  That's  exactly  what  I  thought  myself,  but  you 
almost  made  me  give  up  hope. 

COUNT.  I  am  like  those  lawyers  who  begin  with  the 
unfavorable  side.  My  friend,  you  keep  a  good  inn;  you 
can  support  a  wife  in  proper  style.  Trust  me,  I  will  do 
everything  I  can  for  you. 

COR.     I  recommend  myself  to  your  protection. 

COUNT.     I  grant  it  to  you  and  promise  it  to  you. 

COR.  If  you  care  to  take  the  trouble  to  come  and  taste 
my  wine  .... 

COUNT.  Very  happy  indeed.  I  do  not  stand  on  cere- 
mony with  you. 

COR.     At  your  service,  sir. 

COUNT.  (Putting  his  hand  on  CORONATO'S  shoulder.} 
You  are  a  fine  fellow.  Let  us  go  in. 

COR.  (Aside.)  Two  or  three  barrels  of  wine  would  be 
well  used.  (Exeunt  into  inn.) 

CURTAIN. 


ACT  SECOND. 

SCENE  I. 
Enter  SUSANNA  from  her  shop;  she  displays  her  goods. 

Sus.  Very  poor  business  in  this  village!  The  only 
thing  I  have  sold  up  to  now  is  a  fan,  and  I  almost  gave  that 
away,  just  to  get  rid  of  it.  Everybody  who  can  spend 
money  goes  to  the  city  to  shop.  There  is  no  use  trying  to 
sell  to  the  poor.  I'm  a  fool  to  waste  my  time  here  among 
these  country  people,  who  have  no  manners  and  no  con- 
sideration. They  make  no  distinction  between  a  lady  who 
keeps  a  shop  and  the  girls  who  sell  milk,  vegetables  and 
eggs.  The  education  that  I  got  in  the  city  is  of  no  use  to 
me  out  here  in  this  countrified  place.  They  are  all  the  same 
sort — Susanna,  Giannina,  Margherita,  Lucia,  the  shop- 
keeper, the  goat-girl  and  the  farmer's  daughter — they  are 
all  counted  in  together.  Those  two  ladies  in  the  palace 
have  some  distinction  shown  them, — but  mighty  little,  after 
all.  Then  that  impertinent  Giannina,  because  the  ladies 
patronize  her  she  thinks  she's  something  wonderful.  She 
has  had  a  fan  given  to  her.  Now  what  is  a  country  girl 
like  that  going  to  do  with  a  fan?  She'll  make  a  fine 
appearance  fanning  herself  this  way.  (Imitating  GIAN- 
NINA.) Much  good  may  it  do  her.  Perfectly  ridiculous, 
I  call  it ;  and  yet  it  nearly  drives  me  crazy.  Well,  anyway, 
I  was  properly  brought  up,  and  I  can't  stand  such  ways. 
(She  sits  and  begins  to  work.) 


24  IL   VENTAGLIO. 

ACT  SECOND.     SCENE  II. 
Enter  CANDIDA  from  the  palace. 

CAN.  I  cannot  rest  unless  I  find  out  about  something 
which  I  do  not  understand.  I  saw  Evaristo  come  out  of 
the  shop  and  go  up  to  Giannina,  and  he  certainly  must  have 
given  her  something.  I'd  like  to  see  if  Susanna  can  tell 
me  anything  about  it.  My  aunt  is  quite  right,  you  must  not 
trust  people  without  knowing  them  thoroughly.  Alas  for 
me,  if  I  should  find  him  unfaithful.  He  is  my  first  and 
only  love.  I  have  never  loved  anyone  but  him.  (She  goes 
slowly  toward  SUSANNA.) 

Sus.  (Rising.)  Oh,  Signora  Candida,  your  humble 
servant. 

CAN.  Good-day,  Signora  Susanna.  What  are  you 
working  on  there? 

Sus.     Just  to  amuse  myself,  I  am  working  on  a  bonnet. 

CAN.     To  sell? 

Sus.     Yes,  to  sell,  but  Heaven  knows  when. 

CAN.     Maybe  I  might  make  use  of  a  nightcap. 

Sus.  I  have  some  already  made.  May  I  show  them  to 
you? 

CAN.     No,  no,  there  is  no  hurry ;   another  time. 

Sus.     (Offering  her  a  chair.)     Won't  you  sit  down? 

CAN.    And  you? 

Sus.  I  will  get  another  chair.  (She  brings  a  chair 
from  the  shop.)  Sit  down  here,  this  is  a  better  place. 

CAN.  You  sit  down,  too,  and  go  on  working.  (Both 
sit.) 

Sus.  It's  very  kind  of  you  to  come  and  talk  with  me. 
It  is  easy  to  see  that  you  are  a  lady.  A  lady  is  willing  to 
talk  with  anyone.  These  peasants  are  all  as  proud  as  Luci- 
fer, especially  that  Giannina  .... 


IL  VENTAGLIO.  25 

CAN.  Speaking  of  Giannina,  did  you  notice  when 
Evaristo  was  talking  with  her? 

Sus.     Did  I  notice  it  ?     How  could  I  help  it  ? 

CAN.     He  had  a  long  conversation  with  her. 

Sus.  Do  you  know  what  happened  afterwards?  Do 
you  know  what  a  quarrel  there  was  ? 

CAN.  I  heard  an  awful  noise.  They  told  me  that  Coro- 
nato  and  Crespino  nearly  came  to  blows. 

Sus.  That  is  true,  and  all  on  account  of  that  precious 
jewel,  that  charming  Giannina! 

CAN.     But  why? 

Sus.  Through  jealousy  of  each  other,  and  jealousy  of 
Evaristo. 

CAN.  Do  you  think  that  Evaristo  cares  anything  for 
Giannina  ? 

Sus.  I  don't  know  at  all  about  that.  I  don't  bother  with 
other  people's  affairs,  and  I  never  think  ill  of  anyone.  But 
if  the  innkeeper  and  the  shoemaker  are  jealous  of  him,  they 
must  have  some  reason. 

CAN.  (Aside.)  Alas!  unfortunately  for  me,  what  she 
says  is  only  too  true. 

Sus.  I  beg  your  pardon,  I  hope  I  am  not  doing  wrong 
in  speaking? 

CAN.     Why  should  you  be? 

Sus.  I  hope  you  have  no  inclination  for  Signer 
Evaristo  ? 

CAN.  I?  I  certainly  have  not.  I  know  him,  because 
he  comes  to  the  house  sometimes.  He  is  a  friend  of  my 
aunt's. 

Sus.  I  will  tell  you  the  truth.  (Aside.)  I  don't  think 
she  can  be  offended  at  this.  (Aloud.)  I  thought  that  per- 
haps between  you  and  Signor  Evaristo  there  was  some  kind 
of  an  understanding ;  but  after  what  happened  in  my  shop 
this  morning,  I  see  that  I  was  mistaken. 


26  IL   VENTAGLIO. 

CAN.     Was  he  in  your  shop  this  morning-? 

Sus.     I  will  tell  you.     He  came  to  buy  a  fan. 

CAN.     He  bought  a  fan? 

Sus.  Certainly ;  and  as  I  had  seen  that  you  had  broken 
yours,  partly  on  his  account,  I  said  at  once,  "He  must  have 
bought  it  to  give  to  Signora  Candida." 

CAN.     So  he  bought  it  for  me  ? 

Sus.  Oh,  no,  not  at  all.  Indeed,  I  may  tell  you  that  I 
was  so  bold  as  to  ask  him  whether  he  had  bought  it  for  you. 
In  truth  he  replied  to  me  as  if  I  had  offended  him.  "I  have 
no  reason  to  give  it  to  her,"  he  said;  "what  have  I  to  do 
with  Signora  Candida?  I  have  something  else  to  do  with 
the  fan." 

CAN.     And  what  did  he  do  with  the  fan? 

Sus.     What  did  he  do  with  it  ?     He  gave  it  to  Giannina. 

CAN.  (Aside,  much  agitated.)  I  am  in  despair!  What 
shall  I  do  now  ? 

Sus.     (Watching  her.)     Signora  Candida! 

CAN.  (Aside.)  Ungrateful!  Faithless!  and  for  what? 
For  a  peasant  girl ! 

Sus.     (Eagerly.)     Signora  Candida! 

CAN.     (Aside.)     This  is  an  unendurable  insult. 

Sus.  Oh,  dear  me,  now  I  have  done  it!  Signora  Can- 
dida, calm  yourself.  Maybe  I  was  mistaken. 

CAN.     So  you  think  that  he  gave  the  fan  to  Giannina? 

Sus.     So  far  as  that  goes,  I  saw  him  with  my  own  eyes. 

CAN.  What  did  you  mean  then,  by  saying  you  might  be 
mistaken  ? 

Sus.  I  don't  know.  I  hope  that,  so  far  as  I  am  con- 
cerned . 


R.  F.  KING,  1914, 
as  Candida. 


IL   VENTAGLIO.  27 

ACT  SECOND.     SCENE  III. 
Enter  GERTRUDE  from  the  palace. 

Sus.     (To  CANDIDA.)     Here  is  your  aunt. 

CAN.     For  love  of  Heaven,  don't  tell  her  anything. 

Sus.  No  danger!  (Aside.)  She  wanted  me  to  believe 
that  it  was  not  so.  So  much  the  worse  for  her.  Why 
didn't  she  tell  me  the  truth  about  Signor  Evaristo? 

GER.     What  are  you  doing  here,  niece? 

Sus.  She  is  kind  enough  to  talk  with  me  for  a  few 
minutes. 

CAN.     I  came  to  see  if  she  had  a  nightcap. 

Sus.  Yes,  that  is  true.  She  asked  me  for  one.  (To 
CANDIDA.)  Don't  worry,  you  can  depend  upon  me.  I  am 
not  a  trifler,  and  nobody  ever  comes  to  my  house. 

GER.  Don't  try  to  excuse  yourself  when  it  is  not  neces- 
sary. 

Sus.     I  am  very  sensitive,  signora. 

GER.     Why  didn't  you  tell  me,  if  you  needed  a  cap  ? 

CAN.  You  were  writing  in  your  dressing-room.  I  did 
not  wish  to  disturb  you. 

Sus.  Would  you  like  to  see  it?  I  will  go  and  get  it. 
Take  a  seat,  if  you  please. 

(Exit  into  shop.     GERTRUDE  and  CANDIDA  sit.) 

GER.  Have  you  heard  anything  about  that  quarrel 
between  the  innkeeper  and  the  shoemaker? 

CAN.  They  say  it  was  on  account  of  love,  on  account  of 
jealousy.  They  say  it  was  over  Giannina. 

GER.     I  am  sorry  for  that,  because  she  is  a  good  girl. 

CAN.  Oh,  I  beg  your  pardon,  aunt.  I  have  heard  such 
things  of  her  that  it  would  be  best  not  to  let  her  come  to 
the  house  any  more. 


28  IL   VENTAGLIO. 

GER.     Why,  what  have  they  said? 

CAN.  I  will  tell  you  later.  Do  as  I  wish,  aunt,  do  not 
receive  her  any  more.  That  will  be  better. 

GER.  As  she  came  to  see  you  rather  than  me,  I  give  you 
full  permission  to  treat  her  as  you  like. 

CAN.  The  wretched  creature!  She  will  not  have  the 
boldness  to  appear  before  me. 

Sus.  (Returning  from  the  shop.}  Here  are  the  caps, 
Signora  Candida.  Look  at  them,  choose  which  one  you 
like  best.  (All  three  look  at  the  caps,  talking  quietly 
together.) 

ACT  SECOND.    SCENE  IV. 
Enter  COUNT  and  BARON  from  the  inn. 

COUNT.  I  am  pleased  that  you  told  me  this  secret.  Let 
me  take  entire  charge  of  the  affair,  and  do  not  worry  about 
the  result. 

BARON.  I  know  that  you  are  a  friend  of  Signora  Ger- 
trude. 

COUNT.  Yes,  my  dear  fellow,  I  will  tell  you.  She  is  a 
woman  of  some  intelligence.  I  am  fond  of  literature;  I 
like  to  talk  with  her  more  than  with  others.  Moreover, 
she  comes  from  the  city,  and  she  is  poor.  Her  husband 
left  her  this  wretched  little  palace,  with  a  bit  of  land;  and 
in  order  to  be  respected  in  this  village  she  needs  my  protec- 
tion. 

BARON.  Good  for  you,  Count.  A  protector  of  widows ; 
a  protector  of  handsome  ladies. 

COUNT.  What  would  you  have  ?  In  this  world  one  must 
be  of  use  in  one  way  or  another. 

BARON.     Then  you  will  do  me  the  favor? 

COUNT.  Do  not  doubt  it,  I  will  speak  to  her ;  I  will  ask 
for  the  hand  of  her  niece  for  a  gentleman  who  is  a  friend 


IL  VENTAGLIO.  29 

of  mine;  and  when  I  ask  it  of  her,  I  am  sure  that  she 
would  not  have  the  boldness,  she  would  not  have  the  cour- 
age, to  say  no. 

BARON.     Tell  her  who  I  am. 

COUNT.     What  is  the  use  ?    When  I  ask  her  myself  .... 

BARON.     But  you  are  asking  her  in  my  behalf  ? 

COUNT.     In  your  behalf,  yes. 

BARON.     Do  you  really  know  who  I  am? 

COUNT.  You  think  I  don't  know  you?  Do  you  think  I 
don't  know  your  titles,  your  property,  your  occupations? 
Why,  among  us  aristocrats  we  all  know  each  other. 

BARON.  (Aside.)  How  pleased  I  should  be  if  I  did  not 
need  him! 

COUNT.     (Suddenly.)     My  very  dear  friend! 

BARON.     What  is  it? 

COUNT.     There  is  Signora  Gertrude  with  her  niece. 

BARON.     They  are  busy.     I  think  they  didn't  see  us. 

COUNT.  Certainly  they  didn't  see  us.  If  Gertrude  had 
seen  me,  she  would  have  come  to  speak  to  me  at  once. 

BARON.     When  will  you  speak  to  her? 

COUNT.     Immediately,  if  you  wish. 

BARON.  It  is  better  for  me  not  to  be  present.  Speak  to 
her,  I  will  go  into  the  apothecary's. 

COUNT.     Why  into  the  apothecary's? 

BARON.     I  have  need  of  some  medicine. 

COUNT.  I  will  give  you  some  of  my  elderberry  cordial, 
Baron. 

BARON.  No,  no,  I  know  what  I  want;  if  it's  no  good, 
I  won't  take  it.  I  recommend  myself  to  you.  Will  you 
excuse  me? 

COUNT.     (Embracing  him.)     My  very  dear  friend! 

BARON.  Good-bye,  my  dear  friend.  (Aside.)  He's  the 
craziest  man  in  the  world !  (Exit.) 

COUNT.     Signora  Gertrude! 


30  IL   VENTAGLIO. 

GERTRUDE.  (Rising.)  Oh,  Count,  pardon  me.  I  did 
not  see  you. 

COUNT.     One  word,  if  you  please. 

Sus.  If  you  will  be  so  kind,  speak  to  her  here,  will  you, 
sir? 

COUNT.  (To  GERTRUDE.)  No,  no,  I  have  something  to 
say  to  you  privately.  Excuse  me  for  troubling  you,  but  I 
beg  you  to  come  over  here. 

GER.  I  will  come  at  once.  Allow  me  to  pay  for  a  cap 
which  we  have  bought.  (She  takes  out  her  purse  to  pay 
SUSANNA.) 

COUNT.  (Aside.)  She  is  going  to  pay  at  once!  That 
is  a  vice  which  I  never  had. 


ACT  SECOND.     SCENE  V. 

Enter  CORONATO  from  the  inn  with  SCAVEZZO,  who  carries 
a  barrel  of  wine  on  his  shoulder. 

COR.  (To  the  COUNT.)  Your  excellency,  this  barrel  is 
for  you. 

COUNT.     And  the  other  one? 

COR.  After  this  one,  we  will  bring  the  other.  Where  do 
you  wish  us  to  take  it  ? 

COUNT.     To  my  palace. 

COR.     To  whom  shall  we  deliver  it? 

COUNT.     To  my  steward,  if  he  is  there. 

COR.     I  am  afraid  he  won't  be  there. 

COUNT.     Well,  deliver  it  to  somebody. 

COR.     Very  good.      Come  along. 

SCA.     Has  the  Count  a  tip  for  me? 

COUNT.  (To  SCAVEZZO.)  See  that  you  don't  drink  any 
of  my  wine  and  don't  put  any  water  in  it !  ( To  CORO- 
NATO.) Don't  leave  him  alone  with  the  barrel! 


IL   VENTAGLIO.  31 

COR.     Don't  worry,  I  will  stay  with  him.  (Exit.} 

SCA.     (Aside.)     Yes,  yes,  don't  worry,  the  master  and  I 

have  fixed  it  for  him  already.  (Exit.) 

(GERTRUDE    comes    toward    the    COUNT.      SUSANNA    and 
CANDIDA  are  seated,  and  talk  together.) 

GER.     At  your  service,  Count.     What  can  I  do  for  you  ? 

COUNT.     In  one  word,  will  you  give  me  your  niece? 

GER.     Give?    What  do  you  mean  by  give? 

COUNT.  The  devil !  Don't  you  understand  ?  In  mar- 
riage ! 

GER.    To  you? 

COUNT.  Not  to  me,  but  to  a  person  whom  I  know  and 
whom  I  propose  to  you. 

GER.  I  will  tell  you,  Count;  you  know  that  my  niece 
has  lost  her  parents,  and  as  she  is  the  daughter  of  my 
only  brother,  I  have  undertaken  to  be  a  mother  to  her. 

COUNT.  All  this,  if  you  will  excuse  me,  is  quite  unneces- 
sary to  talk  about. 

GER.  Pardon  me.  Let  me  come  to  the  subject  that  you 
mentioned. 

COUNT.     Well?    What  then? 

GER.  Candida  has  not  inherited  from  her  father  enough 
to  marry  according  to  her  rank. 

COUNT.     Never  mind,  that's  not  the  question. 

GER.  Allow  me  to  finish.  I  have  some  money  left  me 
by  my  husband. 

COUNT.     I  know  that. 

GER.     I  have  no  children. 

COUNT.  (Impatiently.)  And  you  will  give  her  a 
dowry? 

GER.     Yes,  sir, — when  the  match  is  a  suitable  one. 


32  IL   VENTAGLIO. 

COUNT.  Oh,  this  is  the  necessary  point.  I  propose  the 
bridegroom  myself,  and  when  I  propose  him,  he  will  be 
suitable. 

GER.  I  am  sure,  Count,  that  you  are  not  capable  of  pro- 
posing- any  but  an  acceptable  person;  but  I  hope  you  will 
do  me  the  honor  of  telling  me  who  it  is. 

COUNT.     He  is  a  friend  of  mine. 

GER.     A  friend  of  yours  ? 

COUNT.     He  has  a  title,  just  as  I  have. 

GER.     But  .... 

COUNT.     Do  not  make  difficulties. 

GER.  Allow  me  to  finish,  if  you  will.  If  you  do  not 
wish  to  listen,  I  will  relieve  you  of  my  presence. 

COUNT.  Come,  come,  don't  be  unkind ;  speak,  and  I  will 
listen  to  you.  With  women  I  am  always  polite  and  oblig- 
ing. I  will  listen  to  you. 

GER.  I  will  tell  you  in  a  word  what  I  think  about  it.  A 
title  of  nobility  is  an  honor  to  a  family,  but  to  an  individual 
it  is  no  credit.  I  don't  think  my  niece  is  ambitious,  and  I 
certainly  am  not  ambitious  enough  to  sacrifice  her  happi- 
ness for  the  sake  of  vanity. 

COUNT.  (Jokingly.)  Ah,  I  see  that  you  have  read  the 
fables. 

GER.  These  ideas  are  not  learned  from  fables,  nor  from 
stories.  They  are  inspired  by  nature,  and  education  trains 
them. 

COUNT.  Nature !  Education !  Anything  you  like.  The 
husband  whom  I  propose  is  the  Baron  del  Cedro. 

GER.     What  ?     The  Baron  is  in  love  with  my  niece  ? 

COUNT.     Oui,  madame. 

GER.     I  know  him,  and  I  have  great  respect  for  him. 

COUNT.  You  see,  the  man  whom  I  propose  to  you 
amounts  to  something. 


IL  VENTAGLIO.  33 

GER.     He  certainly  is  a  gentleman. 

COUNT.     He  is  a  friend  of  mine. 

GER.  A  little  free  with  his  tongue;  but  after  all,  that 
doesn't  matter. 

COUNT.     Very  good,  then.     What  is  your  reply? 

GER.  Slowly,  slowly,  Signer  Count.  Such  things  as 
this  cannot  be  decided  on  the  spur  of  the  moment.  The 
Baron  will  have  the  goodness  to  speak  with  me. 

COUNT.  When  I  tell  you,  don't  you  know,  there's  no 
doubt  about  it.  I  make  the  request  in  his  name.  He  has 
put  himself  in  my  hands,  he  has  begged  me  and  implored 
me,  and  I  speak  to  you  and  implore  you — that  is  to  say,  I 
don't  implore,  but  I  ask  it  of  you. 

GER.  Supposing,  then,  that  the  Baron  is  speaking  in 
earnest  .... 

COUNT.  Cospetto!  What  do  you  mean  by  "suppos- 
ing"? Isn't  the  thing  certain,  when  I  tell  it  to  you? 

GER.  Very  well,  the  thing  is  settled.  The  Baron  wishes 
to  marry  her.  Your  lordship  asks  for  her.  Now  I  must 
find  out  if  Candida  agrees. 

COUNT.     You  will  never  find  it  out  unless  you  ask  her. 

GER.  (Ironically.)  Have  the  goodness  to  believe  that  I 
will  ask  her. 

COUNT.     There  she  is  now,  speak  to  her. 

GER.     I  will  speak  to  her. 

COUNT.  Go  and  speak  to  her  now.  I  will  wait  for  you 
here. 

GER.  Allow  me,  I  will  be  with  you  again  in  a  moment. 
(Aside.)  If  the  Baron  is  really  in  earnest  it  will  be  a  piece 
of  good  fortune  for  my  niece,  but  I  am  afraid  that  her  mind 
is  made  up  already. 

COUNT.  (Aside.)  With  my  charming  ways  I  always 
make  people  do  whatever  I  wish.  (Takes  a  book  from  his 
pocket,  sits  and  reads.) 


34  IL   VENTAGLIO. 

GER.  (To  CANDIDA.)  Candida,  let  us  go  for  a  little 
walk.  I  have  something  to  say  to  you. 

Sus.  If  the  ladies  would  like  to  walk  in  my  garden, 
they  will  be  free  there. 

GER.  Yes,  let  us  go  there,  because  I  must  come  back  in 
a  moment.  (Exit  into  shop.} 

CAN.  (Aside.)  What  can  she  have  to  say  to  me?  I 
have  lost  all  hope  of  ever  being  happy.  (Exit  into  shop.) 

COUNT.  She  is  capable  of  making  me  wait  an  hour. 
Fortunately  I  have  this  amusing  book  to  read.  Literature 
is  certainly  a  great  resource.  A  man  with  a  good  book  in 
his  hand  is  never  alone. 


ACT  SECOND.     SCENE  VI. 
Enter  GIANNINA  from  her  house. 

GIA.  There,  lunch  is  ready.  When  that  beast  of  a  Mor- 
acchio  comes,  he  will  not  scold.  No  one  is  watching  me. 
This  is  a  good  time  to  go  and  carry  the  fan  to  Candida. 
If  I  can  give  it  to  her  without  letting  her  aunt  see,  I  will 
do  it.  Otherwise  I  must  wait  for  another  chance. 

COUNT.  Aha!  there  is  Giannina.  Eh  there,  my  good 
girl! 

GIA.     Sir  ? 

COUNT.     (Beckoning  to  her.)     A  word  with  you. 

GIA.     What  a  bother!     (Advancing  slowly.) 

COUNT.  (Aside.)  I  must  not  forget  Coronato.  I 
promised  him  my  protection,  and  he  deserves  it.  (Rises 
and  puts  book  in  his  pocket.) 

GIA.     Here  I  am,  sir;  what  do  you  wish? 

COUNT.     Where  were  you  going  just  now? 

GIA.    To  do  what  I  have  to  do,  sir. 


IL   VENTAGLIO.  35 

COUNT.  Is  that  the  way  to  speak  to  me?  With  such 
boldness,  with  such  impertinence? 

GIA.  How  would  you  have  me  speak?  I  speak  as  best 
I  can,  and  as  I  have  learned.  I  speak  this  way  with  every- 
body, and  no  one  has  ever  told  me  that  I  was  impertinent. 

COUNT.  It  makes  a  difference  whom  you  are  speak- 
ing to. 

GIA.  Oh,  I  don't  make  such  distinctions.  If  you  wish 
anything  from  me,  tell  me.  If  you  are  only  amusing  your- 
self, I  have  no  time  to  waste  with  your  lordship. 

COUNT.     Illustrious  lordship! 

GIA.     Most  excellent  lordship,  if  you  wish! 

COUNT.     Come  here. 

GIA.     I  am  here  now. 

COUNT.     Would  you  like  to  be  married? 

GIA.     Yes,  sir. 

COUNT.     Good!    I  like  to  hear  you  say  that. 

GIA.  Whatever  I  have  in  my  heart,  I  have  on  my 
tongue. 

COUNT.     Would  you  like  me  to  find  you  a  husband? 

GIA.     No,  thank  you,  sir. 

COUNT.     Why  do  you  say  no  ? 

GIA.  Why  do  I  say  no?  Because  I  mean  no.  Because 
I  don't  need  your  help  to  find  a  husband. 

COUNT.     Don't  you  need  my  protection? 

GIA.     No,  indeed,  I  don't  need  it  at  all ! 

COUNT.  You  know  how  much  influence  I  have  in  this 
village  ? 

GIA.  You  may  have  influence  in  the  village,  but  you 
have  no  influence  in  my  marriage. 

COUNT.     No  influence? 

GIA.     (Laughing.)     No,  indeed,  not  the  slightest  bit! 

COUNT.     You  are  in  love  with  Crespino. 


36  IL   VENTAGLIO. 

GIA.  Oh,  yes;  he  is  a  fine  fellow,  and  I  am  quite 
satisfied. 

COUNT.  And  you  prefer  him  to  that  fine  man,  that  rich 
man,  that  man  of  reputation,  Coronato? 

GIA.  Oh,  I  should  prefer  him  to  a  good  many  others 
beside  Coronato. 

COUNT.     You  would  prefer  him  to  others? 

GIA.  (Indicating  that  she  means  the  COUNT.)  Do  you 
know  whom  I  prefer  him  to? 

COUNT.     Well,  whom  do  you  prefer  him  to? 

GIA.     What's  the  use?    I  would  rather  not  say. 

COUNT.  You'd  better  not,  because  you  might  say  some- 
thing impertinent. 

GIA.     Do  you  wish  anything  else  from  me? 

COUNT.  Now  you  see,  your  brother  is  under  my  pro- 
tection ;  your  brother  has  given  his  word  to  Coronato,  and 
so  you  will  have  to  marry  Coronato. 

GIA.     Your  lordship  .  .  .  .   ! 

COUNT.     Illustrious  lordship! 

GIA.     Your  illustrious  lordship  protects  my  brother? 

COUNT.     Just  so,  I  have  promised. 

GIA.     And  my  brother  has  given  his  word  to  Coronato  ? 

COUNT.     Precisely. 

GIA.     Very  well,  in  that  case  .... 

COUNT.     In  that  case? 

GIA.     My  brother  can  marry  Coronato. 

COUNT.     I  swear  to  Heaven,  you  shall  not  have  Crespino. 

GIA.     Indeed?    Why  not? 

COUNT.     I  will  have  him  sent  away  from  this  village. 

GIA.     I  will  go  and  find  him  wherever  he  may  be. 

COUNT.     I  will  have  him  flogged. 

GIA.  When  it  comes  to  that,  he  may  have  something  to 
say! 

COUNT.     I  will  have  him  knocked  on  the  head. 


IL   VENTAGLIO.  37 

GIA.     I  should  be  sorry  for  that,  very  sorry. 

COUNT.     What  would  you  do  if  he  were  dead? 

GIA.     I  am  sure  I  don't  know. 

COUNT.     Would  you  take  someone  else? 

GIA.     Maybe  I  would. 

COUNT.     You  may  count  on  his  being  dead. 

GIA.     Sir,  I  don't  know  how  to  read,  or  write,  or  count. 

COUNT.     Impertinence ! 

GIA.     Do  you  wish  anything  else? 

COUNT.     Go  to  the  devil! 

GIA.     Please  show  me  the  way. 

COUNT.  I  swear  to  Heaven  that  if  you  were  not  a 
woman  .... 

GIA.     What  would  you  do? 

COUNT.     You'd  better  go  away  from  here. 

GIA.  I  obey  at  once ;  but  I  suppose  you  will  say  that  I 
have  no  manners.  (She  goes  toward  palace.) 

COUNT.  (Following  her  angrily.)  Manners!  manners! 
she's  going  off  without  saluting  me ! 

GIA.  Oh,  I  beg  your  pardon.  The  servant  of  your 
lordship. 

COUNT.     Illustrious  lordship! 

GIA.     Most  illustrious!         (Exit  laughing,  into  palace.) 

COUNT.  (Indignantly.)  "Rustica  progenies  semper  vil- 
lana  fuit."  I  don't  know  what  to  do.  If  she  won't  have 
Coronato,  I  cannot  force  her  to  take  him.  No  one  can  say 
that  it  was  my  fault.  Who  the  deuce  put  it  into  his  head 
to  want  to  marry  a  woman  who  won't  have  him?  Are 
there  not  women  enough  in  the  world?  I  will  find  him 
another  wife,  a  much  better  one  than  Giannina.  He  shall 
see  the  value  of  my  protection ! 


38  IL   VENTAGLIO. 

ACT  SECOND.     SCENE  VII. 
Enter  GERTRUDE  and  CANDIDA  from  shop. 

COUNT.     Well,  Signora  Gertrude? 

GER.     Sir,  my  niece  is  a  wise  and  prudent  young  woman. 

COUNT.     (Impatiently.)     Yes,  yes,  come  to  the  point. 

GER.  (Offended.)  But  I  don't  know  what  you  mean, 
Signer  Count, — "Come  to  the  point." 

COUNT.  Excuse  me.  If  you  knew  what  I  have  just  been 
through  with  a  woman  ....  It  is  true,  she  was  a  differ- 
ent kind  of  woman.  (Aside.)  But  they  are  all  alike. 
(Aloud.)  Well,  what  says  the  wise  and  prudent  Signora 
Candida  ? 

GER.     Supposing  the  Baron  .... 

COUNT.     "Supposing"?    Confound  your  "supposing"! 

GER.  Granted,  conceded,  certified,  concluded,  whatever 
your  lordship  wishes. 

COUNT.     (Between  his  teeth.)     Most  illustrious! 

GER.     Pardon,  what  did  you  say? 

COUNT.     Nothing,  nothing  at  all.    Pray  go  on. 

GER.  When  the  conditions  are  settled,  my  niece  is  will- 
ing to  marry  the  Baron. 

COUNT.  (To  Candida.)  Good,  that  is  splendid. 
(Aside.)  This  time,  at  least,  I  have  done  it! 

CAN.  (Aside.)  Yes,  to  avenge  myself  on  the  faithless 
Evaristo ! 

GER.  (Aside.)  I  certainly  did  not  expect  that  she 
would  consent.  I  thought  she  was  inclined  in  another 
direction;  but  I  was  wrong. 


IL   VENTAGLIO.  39 

ACT  SECOND.     SCENE  VIII. 
Enter  GIANNINA  on  the  balcony  of  the  palace. 

GIA.  She  is  not  here;  I  cannot  find  her  anywhere.  Oh, 
there  she  is  down  there ! 

COUNT.  And  so,  Signora  Candida  will  marry  the  Baron 
del  Cedro. 

GIA.     What  is  this  I  hear?    What  will  she  say? 

GER.  (To  the  COUNT.)  She  will  do  it  when  the 
conditions  .... 

COUNT.  (To  CANDIDA.)  What  conditions  do  you  insist 
upon? 

CAN.  (To  the  COUNT.)  None  at  all,  sir.  I  will  marry 
him  in  any  case. 

COUNT.  Viva,  Signora  Candida !  I  am  delighted  to  hear 
you  say  this.  (Aside.)  Aha,  when  I  take  a  hand  in  any- 
thing, it  goes  to  perfection ! 

GIA.  This  is  perfectly  terrible !  Poor  Signor  Evaristo ! 
Well,  there  is  no  need  of  my  giving  her  the  fan  now. 

(Exit.) 

GER.  (Aside.)  I  was  all  wrong.  I  thought  she  was 
devoted  to  Evaristo,  and  all  the  time  she  was  in  love  with 
the  Baron. 

COUNT.  If  you  will  allow  me,  I  will  go  and  tell  the  good 
news  to  my  dear  friend  the  Baron. 

GER.     By  the  way,  where  is  the  Baron? 

COUNT.  He  is  waiting  for  me  in  the  apothecary's.  One 
thing,  if  you  please;  will  you  go  into  the  house?  I  will 
bring  him  to  you  there  at  once. 

GER.     What  do  you  say,  my  niece? 

CAN.     Very  well,  he  can  talk  with  you. 

COUNT.     (To  CANDIDA.)     And  with  you,  too. 

CAN.  I  will  agree  to  whatever  my  aunt  says.  (Aside.) 
It  will  kill  me,  but  I  shall  have  revenge ! 


4°  IL   VENTAGLIO. 

COUNT.  I  will  go  at  once.  Wait  for  us.  We  shall  come 
to  your  house,  and  as  it  is  getting  a  little  late,  it  would  not 
be  a  bad  plan  to  invite  him  to  dinner. 

GER.     Oh,  on  his  very  first  visit? 

COUNT.  That  is  an  unnecessary  scruple.  He  will  accept 
gladly,  I  promise  you ;  and  to  persuade  him,  I  will  stay  to 
dinner,  too.  (Exit  into  apothecary's.) 

GER.  (To  CANDIDA.)  Let  us  go  and  wait  for  them, 
then. 

CAN.     (Sadly.)     Let  us  go. 

GER.  What  is  the  trouble?  Are  you  not  doing  this  of 
your  own  free  will? 

CAN.  Yes,  I  do  it  freely.  (Aside.)  I  have  given  my 
word,  and  there  is  no  help  for  it  now. 

GER.  Poor  girl,  I  am  sorry  for  her.  In  such  cases  it  is 
natural  to  be  a  little  embarrassed. 


ACT  SECOND.     SCENE  IX. 
Enter  GIANNINA  from  palace. 

GIA.     Oh,  Signora  Candida! 

CAN.     (Angrily.)     What  are  you  doing  here? 

GIA.     I  was  trying  to  find  you. 

CAN.     Get  away  from  here,  and  never  dare  to  put  your 
foot  in  our  house  again. 

GIA.     What?    Such  an  insult? 

CAN.     Insult?     You  are  a  good-for-nothing  girl,  and  I 
cannot  and  will  not  endure  you  any  longer. 

(Exit  to  palace.) 

GER.     That  is  certainly  going  a  little  too  far. 

GIA.     I  am  dumb  with  astonishment,  Signora  Gertrude! 


IL   VENTAGLIO.  4* 

GER.  I  am  sorry  for  the  mortification  that  you  have 
had ;  but  my  niece  is  a  sensible  person,  and  if  she  has 
treated  you  badly,  she  must  have  some  good  reason  for  it. 

GIA.  (Loudly.}  What  reason  can  she  have?  I  am 
surprised  at  you. 

GER.     See  here,  you  must  be  respectful.    Don't  shout  so. 

GIA.  I  will  go  and  demand  an  explanation.  (Wishes 
to  go  into  palace.} 

GER.  No,  no,  stop!  There  is  no  use  at  present.  You 
can  do  it  later. 

GIA.     But  I  tell  you  that  I  want  to  go  now. 

GER.     You  will  not  dare  to  enter  this  door ! 


ACT  SECOND.     SCENE  X. 

Enter  COUNT  and  BARON. 

COUNT.     Come  along,  come  along. 
GIA.     I  will  go  in  by  force. 
GER.     Impertinence ! 

(Exit  into  palace,  shutting  the  door  just  as 
the  COUNT  and  the  BARON,  unseen  by  her, 
approach.  Giannina  walks  about  in  a  rage.} 

BARON.     What's  this  ?    She  shuts  the  door  in  our  faces ! 

COUNT.     In  our  faces?    It  is  not  possible. 

BARON.  Not  possible?  Not  possible  when  it  has  been 
done? 

GIA.     This  insult  to  me? 

COUNT.  (To  the  BARON.)  Let  us  knock,  and  see  what 
it  means. 

GIA.     (Aside.}     If  they  get  in,  I  will  slip  in  behind  them. 

BARON.  No,  wait  a  minute;  I  do  not  care  to  hear  any 
more.  I  refuse  to  expose  myself  to  any  more  insults.  I 


42  IL  VENTAGLIO. 

made  a  great  mistake  in  speaking  to  you  at  all.  They  have 
made  you  ridiculous,  and  I  am  put  in  a  ridiculous  position 
on  your  account. 

COUNT.     (Warmly.)     What  is  this  you  say  to  me? 

BARON.     And  I  demand  satisfaction. 

COUNT.     From  whom? 

BARON.     From  you. 

COUNT.     Satisfaction  ? 

BARON.     With  swords. 

COUNT.  With  swords?  I  have  lived  in  this  village 
twenty  years,  and  in  all  that  time  I  have  never  touched  a 
sword. 

BARON.     With  pistols,  then. 

COUNT.  Yes,  that's  right,  with  pistols.  I  will  go  and 
get  my  pistols.  (Starts  to  go.) 

BARON.  Stop !  I  have  a  couple  here.  One  for  you  and 
one  for  me.  (He  takes  two  pistols  from  his  pockets.) 

GIA.  (Running  into  her  house.)  Pistols!  Oh,  help! 
Somebody  come  quick !  Pistols !  They  are  murdering  each 
other ! 


ACT  SECOND.     SCENE  XL 
Enter  GERTRUDE  on  the  balcony. 

GER.     Gentlemen,  what  does  this  mean? 

COUNT.  What  did  you  mean  by  shutting  the  door  in  our 
faces  ? 

GER.  I  beg  your  pardon.  I  am  not  capable  of  doing  a 
discourteous  act  to  anyone,  and  especially  not  to  you  and 
the  Baron,  who  is  kind  enough  to  ask  for  the  hand  of  my 
niece. 

COUNT.     (To  the  BARON.)     Hear  that? 


\Y.  C.  BULLITT,  Jr..  1912.       A.  M.  HARTWELL,  1911, 
as  Crespino.  as  Giaiitrina. 


IL   VENTAGLIO.  43 

BARON.  But,  my  dear  signora,  in  the  very  moment  that 
we  were  entering  your  house,  the  door  was  slammed  in 
our  faces ! 

GER.  I  assure  you  that  I  didn't  see  you  at  all,  and  I 
shut  the  door  to  prevent  that  silly  idiot  Giannina  from 
coming  in. 

GIA.  (Putting  her  head  timidly  out  of  her  door.} 
What  is  that— "silly  idiot"? 

COUNT.  (To  GIANNINA.)  Keep  quiet  there,  imperti- 
nence! ( GIANNINA  shows  her  rage;  exit.) 

GER.  If  you  will  be  so  kind,  I  will  send  the  servant  to 
let  you  in.  (Exit.) 

COUNT.     (To  BARON.)     Hear  that? 

BARON.     I  have  nothing  more  to  say. 

COUNT.     What  are  you  going  to  do  with  those  pistols  ? 

BARON.  I  beg  your  pardon,  but  my  sensitive  honor  .... 
(Puts  the  pistols  in  his  pocket.) 

COUNT.  Are  you  going  to  present  yourself  before  these 
ladies  with  your  pockets  full  of  pistols  ? 

BARON.  I  carry  them  out  here  in  the  country,  to  defend 
myself. 

COUNT.  But  if  they  find  out  that  you  have  pistols  in 
your  pocket,  you  know  what  women  are,  they  will  not  come 
near  you. 

BARON.  You  are  quite  right.  Thank  you  for  having 
warned  me.  I  will  make  you  a  present  of  them,  as  a  sign 
of  my  friendship.  (He  takes  them  from  his  pocket  and 
offers  them  to  the  COUNT.) 

COUNT.  (Timidly.)  You  are  going  to  give  them  to 
me? 

BARON.     Yes,  I  hope  you  will  not  refuse  them? 

COUNT.  I  will  take  them,  because  they  come  from  you. 
Are  they  loaded? 


44  IL   VENTAGLIO. 

BARON.  What  a  question !  Do  you  suppose  that  I  would 
carry  empty  pistols  around? 

COUNT.     Wait  a  minute.    Ho,  there,  in  the  cafe! 

LIM.     (Entering  from  cafe.)     What  do  you  wish? 

COUNT.  Take  these  pistols,  and  keep  them  until  I  send 
for  them. 

LIM.     (Taking  pistols.)     Very  good,  sir. 

COUNT.     Take  care,  they  are  loaded. 

LIM.  (Flourishing  the  pistols.)  Oh,  I  know  how  to 
manage  them. 

COUNT.  (Timidly.)  Oh,  I  say  there,  don't  act  like  a 
fool! 

LIM.     The  Count  is  a  brave  man!  (Exit.) 

COUNT.  (To  BARON.)  I  thank  you  very  much,  and  I 
shall  not  forget  your  generosity.  (Aside.)  I  will  sell  the 
pistols  to-morrow. 

TOG.  (From  the  palace.)  Gentlemen,  my  mistress  is 
waiting  for  you. 

COUNT.     Come  along. 

BARON.     Let  us  go  in. 

COUNT.  Well,  what  do  you  say  now?  Am  I  the  right 
kind  of  a  man?  Oh,  my  dear  friend,  we  aristocrats,  our 
protection  amounts  to  something! 

(They  go  toward  palace.  GIANNINA,  from  her 
house,  follows  them.  COUNT  and  BARON 
exeunt  into  palace,  GIANNINA  tries  to  go  in 
also,  and  TOGNINO  prevents  her.) 

TOG.     You  have  no  business  in  here! 
GIA.     I  tell  you  I  have  business  in  there! 
TOG.     I  am  ordered  not  to  let  you  in. 

(Exit,  closing  door.) 


IL   VENTAGLIO.  45 

GIA.  I  am  so  furious  that  I  don't  know  what  to  do! 
I  feel  as  if  I  was  stifling!  Such  an  insult  to  me,  a  respect- 
able girl! 


ACT  SECOND.     SCENE  XII. 

Enter   EVARISTO   and   MORACCHIO   with   guns,  game   bag 

and  dog. 

EVA.  Here,  take  my  gun  into  your  house,  and  keep  the 
partridges  until  I  send  for  them.  Take  good  care  of  the 
dog.  (Sits  at  cafe  and  takes  snuff.) 

MOR.  That's  all  right.  I  will  take  care  of  the  dog  and 
the  other  things.  (To  GIANNINA.)  Is  lunch  ready? 

GIA.     (Angrily.)     It  is  all  ready! 

MOR.  What  the  devil  is  the  matter  with  you?  You  are 
always  in  a  rage  with  everybody,  and  then  you  complain 
of  my  temper! 

GIA.  Yes,  that's  right.  We  are  brother  and  sister,  there 
is  nothing  more  to  be  said. 

MOR.     Very  well,  let  us  go  in  to  lunch.    It  is  time. 

GIA.  You  go  ahead,  I  will  come  in  a  moment.  (Aside.) 
I  want  to  have  a  word  with  Signer  Evaristo. 

MOR.  Come,  if  you  are  coming.  If  you  do  not  come,  I 
will  eat  alone.  (Exit  into  house.) 

GIA.     If  I  should  eat  now,  it  would  poison  me! 

EVA.  Not  a  soul  on  the  balcony.  They  must  be  at 
dinner.  I  had  better  go  into  the  inn.  The  Baron  is  expect- 
ing me.  (To  GIANNINA.)  Well,  Giannina,  have  you  any- 
thing to  tell  me? 

GIA.  Oh,  sir,  I  should  say  I  did  have  something  to  tell 
you ! 

EVA.     Have  you  given  her  the  fan  ? 

GIA.     Here  is  your  miserable  fan ! 


4<S  IL   VENTAGLIO. 

EVA.  What  does  this  mean?  Could  you  not  give  it  to 
her? 

GIA.  I  have  received  a  thousand  insults  and  a  thousand 
impertinences.  They  drove  me  out  of  the  house  like  a 
robber. 

EVA.     Did  Signora  Gertrude  see  that? 

GIA.  Not  only  Signora  Gertrude,  the  most  impertinent 
things  were  said  to  me  by  Signora  Candida. 

EVA.     Why  so  ?    What  have  you  done  to  her  ? 

GIA.     I  have  not  done  anything  at  all  to  her,  sir. 

EVA.     Did  you  tell  her  that  you  had  a  fan  for  her? 

GIA.  How  could  I  tell  her,  when  she  didn't  give  me  time, 
and  when  they  drove  me  out  like  a  thief  ? 

EVA.     But  there  must  be  some  good  reason. 

GIA.  For  my  part,  I  know  I  didn't  deserve  it.  All  this 
bad  treatment  came  to  me,  I  am  sure,  on  account  of  you. 

EVA.  On  account  of  me?  When  Candida  loves  me  so 
much? 

GIA.     When  Candida  loves  you  so  much! 

EVA.     Why,  certainly,  there  is  no  doubt  of  that? 

GIA.  (Laughing.)  Yes,  yes,  I  assure  you  that  she  loves 
you  tremendously.  Why,  certainly ! 

EVA.     I  don't  understand  what  you  mean. 

GIA.  (Sarcastically.)  Go,  go  and  find  your  lady-love! 
Go  and  find  your  sweetheart ! 

EVA.     Why  should  I  not  go? 

GIA.     Because  the  place  is  taken. 

EVA.     Taken?    By  whom? 

GIA.     By  the  Baron  del  Cedro. 

EVA.     (Astonished.)     Is  the  Baron  in  the  house? 

GIA.  Why  should  he  not  be  in  the  house,  when  he  is 
going  to  marry  Signora  Candida  ? 

EVA.  Giannina,  you  are  crazy,  you  are  dreaming,  you 
do  nothing  but  say  the  most  absurd  things ! 


IL   VENTAGLIO.  47 

GIA.  Don't  you  believe  me  ?  Go  and  see.  You  will  soon 
find  out  whether  I'm  telling  you  the  truth. 

EVA.     In  the  house  of  Signora  Gertrude? 

GIA.     And  of  Signora  Candida. 

EVA.     The  Baron? 

GIA.     del  Cedro. 

EVA.     Is  going  to  marry  Signora  Candida? 

GIA.     I  saw  it  with  my  eyes  and  heard  it  with  my  ears. 

EVA.  It  is  impossible.  It  cannot  be  so.  You  are  talking 
absolute  nonsense. 

GIA.  Very  well,  go  and  find  out.  You  will  see  whether 
I  am  talking  nonsense.  (She  begins  to  sing.) 

EVA.  I  will  go  immediately.  (Runs  'to  palace  and 
knocks.) 

GIA.  Poor  old  fool !  He  trusts  in  the  love  of  a  young 
lady  from  the  city.  You  cannot  trust  them,  as  you  can  us 
country  girls ! 

(EVARISTO  shudders  and  continues  to  knock.    TOGNINO 
opens  the  door.) 

TOG.     Pardon  me,  I  cannot  let  anyone  in. 

EVA.     Did  you  say  who  it  is? 

TOG.     I  did. 

EVA.     To  Signora  Candida? 

TOG.     To  Signora  Candida. 

EVA.  And  Signora  Gertrude  does  not  wish  to  have  me 
come  in? 

TOG.  Signora  Gertrude  was  the  one  who  wanted  to  have 
you  come  in,  but  Signora  Candida  refused. 

EVA.  She  refused?  In  the  name  of  Heaven,  I  will  go 
in!  (Tries  to  force  his  way  in,  TOGNINO  shuts  the  door  in 
his  face.) 

GIA.     Aha !   I  told  you  so ! 


48  IL  VENTAGLIO. 

EVA.  This  is  too  much  for  me.  I  don't  know  where  I 
am.  Shutting  the  door  in  my  face ! 

GIA.  You  needn't  be  surprised;  that  is  just  what  they 
did  to  me. 

EVA.  How  is  it  possible  that  Candida  can  have  deceived 
me? 

GIA.  When  it  has  actually  happened  there  is  no  doubt 
about  it. 

EVA.  And  yet  I  don't  believe  it.  I  cannot  believe  it.  I 
will  never  believe  it. 

GIA.     You  don't  believe  it? 

EVA.  No.  There  must  be  some  mistake,  some  misunder- 
standing. I  know  Candida's  heart.  She  is  incapable  .... 

GIA.  That's  right.  Console  yourself  if  you  can.  Go  on 
hoping  if  you  want  to,  and  much  good  may  it  do  you ! 

EVA.     I  absolutely  must  speak  with  Candida. 

GIA.     But  if  she  refuses  to  see  you? 

EVA.  Never  mind,  there  must  be  some  other  reason.  I 
will  go  into  the  cafe.  It  will  be  enough  to  see  her,  to  get 
a  word  from  her.  One  gesture  will  be  enough  to  tell  me 
whether  I  have  any  hope. 

GIA.     (Hands  him  the  fan.)     Here,  take  this. 


ACT  SECOND.     SCENE  XIII. 

Enter  CORONATO  and  SCAVEZZO.    SCAVEZZO  goes  into  the 
inn.     CORONATO  listens  to  the  conversation. 

EVA.  What  do  you  want  to  give  me? 

GIA.  The  fan. 

EVA.  Keep  it,  don't  bother  me  any  more. 

GIA.  You  give  me  the  fan? 

EVA.  Yes ;  keep  it,  keep  it,  I  give  it  to  you.    I  am  nearly 
crazy. 


IL  VENTAGLIO.  49 

GIA.     Very  well,  I  will  take  it.    Thank  you. 

COR.  (Aside.)  Aha!  Now  I  see  what  the  present  is. 
A  fan !  (Exit  into  inn  without  being  seen  by  GIANNINA.) 

EVA.  But  if  Candida  will  not  let  me  see  her,  if  she 
doesn't  happen  to  come  to  her  window,  if  she  sees  me  and 
refuses  to  listen  to  me,  if  her  aunt  refuses  to  let  her  speak 
to  me — I  don't  know  what  in  the  world  I  can  do  next. 


ACT  SECOND.     SCENE  XIV. 

Enter  CRESPINO,  carrying  a  large  bag  full  of  leather  and 
shoes;  while  going  toward  his  shop  he  stops  to  listen. 

GIA.  Poor  Signer  Evaristo.  Truly  I  pity  you,  I  am 
sorry  for  you. 

EVA.     Yes,  Giannina,  I  am  indeed  to  be  pitied. 

GIA.     You  are  so  kind,  so  agreeable,  so  polite! 

EVA.  You  know  my  heart;  you  know  how  much  I 
am  in  love! 

CRES.     (Aside.)     That's  good.    I  arrived  just  in  time. 

GIA.     Really,  if  I  knew  of  any  way  to  console  you  .... 

CRES.     (Aside.)     Good  for  her! 

EVA.  Well,  at  any  cost  I  must  try  my  fate.  I  will  not 
allow  myself  to  be  reproved  for  not  having  tried  to  make 
it  right  again.  I  will  go  into  the  cafe,  Giannina,  and  I  go 
there  in  fear  and  trembling.  You  must  continue  to  love  me 
and  be  kind  to  me. 

(Shakes  her  hand  and  goes  into  the  cafe.) 

GIA.  One  minute  he  makes  me  laugh,  and  then  the  next 
minute  I  pity  him. 

(CRESPINO  takes  shoes  and  leather  from  bag,  and  begins 

to  work.) 


50  IL   VENTAGLIO. 

GIA.  Oh,  there  is  Crespino !  I'm  glad  to  see  you  back. 
Where  have  you  been  all  this  time? 

CRES.  Don't  you  see?  I  went  to  buy  some  leather,  and 
to  get  these  shoes  to  mend. 

GIA.  You  never  do  anything  but  mend  old  shoes.  I 
shouldn't  like  to  have  people  say  ....  You  know  people 
have  such  malicious  tongues ! 

CRES.  (Working.)  The  malicious  tongues  will  have 
more  to  say  about  you  than  they  will  about  me. 

GIA.     About  me  ?    What  can  they  possibly  say  about  me  ? 

CRES.  I  don't  care  if  they  do  say  that  I  am  a  cobbler, 
not  a  shoemaker.  It  is  enough  for  me  to  be  an  honest  man 
and  to  earn  my  living. 

GIA.     I  shouldn't  like  to  be  called  the  cobbler's  wife. 

CRES.     When  would  that  be? 

GIA.     When  I  marry  you. 

CRES.     Eh  ? 

GIA.     Eh?     What  do  you  mean  by    "eh"? 

CRES.  I  mean  to  say  that  Signora  Giannina  will  not  be 
a  cobbler's  wife  nor  a  shoemaker's  wife  either,  because  I 
see  she  has  grand  and  magnificent  ideas  in  her  head. 

GIA.  Are  you  crazy,  or  have  you  been  drinking  this 
morning  ? 

CRES.  I  am  not  crazy,  and  I  have  not  been  drinking; 
but  I'm  neither  blind  nor  deaf. 

GIA.  What  the  deuce  do  you  mean?  Speak  plainly  if 
you  want  me  to  understand. 

CRES.  You  want  me  to  explain?  Very  well.  Do  you 
think  I  didn't  hear  those  fine  words  with  Signer  Evaristo? 

GIA.     With  Signor  Evaristo? 

CRES.  (Imitating  EVARISTO.)  "Yes,  Giannina,  you 
know  my  heart,  you  know  how  much  I  am  in  love!" 

GIA.     (Laughing.)     Oh,  crazy! 


IL   VENTAGLIO.  51 

CRES.  (Imitating  GIANNINA.)  "Really,  if  I  knew  of 
any  way  to  console  you  .  .  .  ." 

GIA.     Oh,  crazy! 

CRES.  (Imitating  EVARISTO.)  "You  must  continue  to 
love  me  and  be  kind  to  me." 

GIA.     Crazy,  crazy  and  then  once  more  crazy! 

CRES.     I  crazy? 

GIA.     Yes,  you,  crazy,  extra  crazy,  once  more  crazy ! 

CRES.  Corpo  del  diavolo !  Didn't  I  see  you,  didn't  I  hear 
your  lovely  conversation  with  Signer  Evaristo? 

GIA.     Crazy ! 

CRES.     And  what  did  you  say  to  him  in  return  ? 

GIA.     Crazy ! 

CRES.  (Threatening  her.)  Giannina,  stop  saying 
"crazy,"  or  I  will  act  like  a  crazy  man  indeed! 

GIA.  Eh,  eh,  do  you  really  think  that  Signer  Evaristo 
cares  anything  about  me? 

CRES.     I  am  not  so  sure. 

GIA.  And  that  I  am  such  a  fool  as  to  care  anything 
about  him? 

CRES.     I  am  not  so  sure. 

GIA.  Come  here.  Listen.  Signer  Evaristo  is  in  love 
with  Signora  Candida,  and  Signora  Candida  has  fooled 
him  and  is  going  to  marry  the  Baron ;  and  Signor  Evaristo, 
in  despair,  came  to  tell  me  about  it  and  I  pretended  to  sym- 
pathize with  him,  just  for  fun;  and  now  do  you  under- 
stand ? 

CRES.     Not  one  word  of  what  you  say ! 

GIA.     Are  you  persuaded  of  my  innocence? 

CRES.     Not  so  sure. 

GIA.  In  that  case,  you  may  go  to  the  devil.  Coronato 
wants  me,  my  brother  has  given  him  his  word,  the  Count 
is  urging  me  and  begging  me.  I  think  I  will  marry 
Coronato. 


S«  IL   VENTAGLIO. 

CRES.  Slowly !  slowly !  Don't  lose  your  temper.  How 
can  I  be  sure  that  you  are  speaking  the  truth,  and  that 
there  is  nothing  between  you  and  Signer  Evaristo? 

GIA.  And  you  don't  want  me  to  call  you  crazy?  My 
dear  little  Crespino,  I  love  you  so  much,  I  love  you  with 
all  my  heart  and  soul. 

CRES.  (Gently.}  What  was  it  that  Signer  Evaristo 
gave  you? 

GIA.     Nothing. 

CRES.     Nothing?    Are  you  sure?    Really  nothing? 

GIA.  When  I  say  nothing,  I  mean  it.  (Aside.)  I  don't 
want  him  to  know  about  the  fan.  It  would  make  him 
suspicious. 

CRES.     How  can  I  be  sure? 

GIA.     Come,  come,  don't  torment  me! 

CRES.     Do  you  really  love  me? 

GIA.     Certainly  I  love  you. 

CRES.  (Taking  her  hand.}  Come  then,  let  us  make 
peace. 

GIA.     (Laughing.)     Crazy! 

CRES.     (Laughing.)     Why  crazy? 

GIA.     Because  you  are  the  craziest  man  I  ever  saw ! 


ACT  SECOND.     SCENE  XV. 
Enter  CORONATO  from  the  inn. 

COR.  At  last  I  have  found  out  about  the  present  that 
Giannina  had. 

GIA.  What  have  you  to  do  with  me? 

CRES.  (To  CORONATO.)     Did  she  get  a  present? 

COR.  From  Signor  Evaristo. 

GIA.  Nothing  of  the  sort. 

CRES.  Nothing  of  the  sort  ? 


IL  VENTAGLIO.  S3 

COR.  Oh,  yes,  and  I  know  what  the  present  is! 

GIA.  Well,  whatever  the  present  may  have  been,  it  is 
no  business  of  yours.  I  love  Crespino  and  I  am  going  to 
be  his  wife. 

CRES.     (To  CORONATO.)     Tell  me,  what  was  the  present ? 

COR.  A  fan. 

CRES.     (Angrily  to  GIANNINA.)     He  gave  you  a  fan? 

GIA.  Confound  the  man! 

CRES.     Did  he  give  you  a  fan  ? 

GIA.  There  is  no  truth  in  it. 

COR.  It  is  so  true  that  you  have  it  now  in  your  pocket. 

CRES.     I  am  going  to  see  that  fan. 

GIA.  Not  if  I  can  help  it ! 

COR.  I  will  find  a  way  of  making  you  bring  it  out. 

GIA.  Insolence ! 


ACT  SECOND.     SCENE  XVI. 

Enter  MORACCHIO  from  his  house  with  napkin  around  his 
neck,  eating. 

MOR.     What's  the  meaning  of  all  this  noise  ? 

COR.  Your  sister  has  had  a  fan  given  to  her.  She's  got 
it  in  her  pocket,  and  she  says  it  is  not  so ! 

MOR.     (Commandingly.)     Give  me  that  fan! 

GIA.     You  leave  me  alone! 

MOR.  (Threatening.)  Give  me  that  fan,  or  I  swear  to 
Heaven  .... 

GIA.     (Showing  the  fan.)     Confound  you,  there  it  is. 

CRES.     (Trying  to  take  it.)     Give  it  to  me,  give  it  to  me ! 

COR.     (Trying  to  take  it.)     I  want  it. 

GIA.     Leave  me  alone,  confound  you ! 

MOR.     Give  it  to  me,  instantly !    I  want  it ! 


54  IL   VENTAGLIO. 

GIA.  (To  MORACCHIO.)  I'll  do  nothing  of  the  sort.  I 
would  rather  give  it  to  Crespino. 

MOR.  Give  it  to  me,  I  tell  you.  (GIANNINA  gives  the 
fan  to  CRESPINO  and  runs  into  the  house.) 

COR.  and  MOR.     (To  CRESPINO.)     Give  it  to  me! 

CRES.     You  shan't  have  it! 

(Exit,  running,  the  others  follow.) 


ACT  SECOND.     SCENE  XVII. 
Enter  COUNT  on  balcony  of  palace. 
COUNT.     (Shouting.)     Ho  there!     Signer  Timoteo! 
(Enter  TIMOTEO.) 

TIM.     What  do  you  wish? 

COUNT.  Quick !  Quick !  Bring  some  smelling  salts  and 
stimulants.  Signora  Candida  has  fainted  away! 

TIM.     I  will  come  at  once.  (Exit  into  shop.) 

COUNT.  What  the  devil  happened  to  her  when  she  was 
looking  out  of  the  window  ?  There  must  be  poisonous  trees 
in  this  garden.  (Exit.) 

(CRESPINO  runs  across  the  stage,  followed  by  CORONATO 
and  MORACCHIO.     Enter  BARON  from  palace.) 

BARON.     Come,  hurry  up,  Signor  Timoteo. 

(Enter  TIMOTEO  from  shop,  carrying  tray  with  several 
bottles.) 

TIM.     Here  I  come,  here  I  come ! 

BARON.     Come  quickly,  they  need  you  in  there !     (Exit.) 

TIM.     Coming,  coming. 

(CRESPINO,  CORONATO  and  MORACCHIO  run  across  the  stage 
as  before;   they  knock  over  TIMOTEO,  who  falls  with  his 


IL  VENTAGLIO.  55 

bottles.     CRESPINO  falls  and  loses  the  fan,  CORONATO 
picks  it  up.    Exit  TIMOTEO  to  shop.) 

COR.  (To  MORACCHIO.)  Here  it  is,  here  it  is!  I've 
got  it! 

MOR.  That  is  all  right,  then.  You  keep  it.  Giannina 
will  have  to  tell  me  where  she  got  it.  (Exit  into  house.) 

COR.     Well,  he  saw  it,  and  I  have  it!        (Exit  into  inn.) 

CRES.  Confound  the  men.  They  have  half  killed  me; 
but  never  mind.  I  am  sorry,  though,  that  Coronato  got 
the  fan.  I  would  give  six  pairs  of  boots  if  I  could  get 
it  back  and  break  it  to  pieces.  Why  should  I  break  it? 
Why,  indeed?  Because  it  was  a  present  that  somebody 
gave  to  Giannina  ?  How  foolish  that  would  be !  Giannina 
is  a  good  girl,  and  I  will  not  give  her  up  for  such  a  thing 
as  that.  (Exit  into  his  shop,  limping.) 

CURTAIN. 


ACT   THIRD. 

SCENE  I. 

Enter  CRESPINO  from  his  shop,  with  bread  and  cheese  on 
a  plate,  and  an  empty  decanter;  sits  on  his  bench  and  begins 
to  eat.  Enter  TOGNINO  from  palace,  and  exit  into  TIM- 
OTEO'S  shop.  Enter  CORONATO  from  inn,  followed  by  SCA- 
VEZZO,  who  carries  a  barrel  on  his  shoulder  as  before. 
CORONATO  passes  in  front  of  CRESPINO,  and  laughs;  CRES- 
PINO looks  at  him  and  trembles.  Exeunt  CORONATO  and 
SCAVEZZO;  CRESPINO  watches  them,  then  continues  eating. 
Enter  TOGNINO  with  a  broom;  he  sweeps  up  the  bottles 
which  were  broken  at  the  end  of  ACT  SECOND.  Enter 
TIMOTEO  'from  his  shop,  carrying  bottles  on  a  tray;  he  goes 
hurriedly  into  palace.  CRESPINO,  with  his  empty  decanter, 
goes  slowly  and  sadly  into  inn.  Enter  SUSANNA  from  her 
shop;  she  arranges  her  wares,  sits  and  begins  to  work. 
Exit  TOGNINO  into  palace.  Enter  GIANNINA  from  her 
house;  she  sits  and  begins  to  spin.  Enter  CRESPINO  from 
inn,  with  his  decanter  full  of  wine;  laughing,  he  displays 
the  fan,  which  he  holds  under  his  jacket;  sits  on  his  bench, 
hides  the  fan  under  a  pile  of  leather,  puts  the  decanter  on 
the  ground  beside  him,  and  begins  to  eat.  Enter  CORONATO  ; 
he  passes  in  front  of  Crespino,  laughs,  and  goes  into  inn, 
turning  at  the  door  to  look  once  more  at  CRESPINO,  who 
then  looks  at  the  fan,  laughs,  and  continues  eating.  Enter 
COUNT  and  BARON  from  palace. 

COUNT.  No,  my  dear  friend,  I  beg  your  pardon,  you 
have  nothing  to  complain  of. 

BARON.     I  assure  you  that  I  have  nothing  to  be  proud  of. 

COUNT.  If  Signora  Candida  fainted  away,  that  was 
merely  an  accident;  you  ought  not  to  feel  offended.  You 


IL   VENTAGLIO.  57 

know  that  women  are  subject  to  these  humors,  to  these 
sterile  affections. 

BARON.     "Sterile  affections"?    Hysterics,  you  mean! 

COUNT.  Yes,  hysterics,  if  you  like.  However,  if  she 
didn't  give  you  a  very  cordial  greeting,  it  was  not  her  fault, 
it  was  because  she  was  feeling  unwell. 

BARON.  But  she  was  feeling  perfectly  well  when  we 
went  in;  and  the  moment  she  saw  me,  she  withdrew  into 
her  room. 

COUNT.  That  was  because  she  was  beginning  to  feel 
faint. 

BARON.  Did  you  notice  Signora  Gertrude  when  she 
came  out  of  her  niece's  room? — with  what  interest,  with 
what  astonishment,  she  was  reading  something  that  looked 
like  letters  ? 

COUNT.  She  has  charge  of  important  affairs.  Probably 
they  were  some  letters  which  had  just  come  to  her. 

BARON.  Not  at  all,  they  were  old  letters.  I  wager  that 
she  had  found  them  in  Signora  Candida's  room,  or  in  her 
pocket. 

COUNT.  You're  a  very  strange  man,  my  dear  friend! 
What  on  earth  are  you  thinking  of  ? 

BARON.  I  am  simply  imagining  what  it  might  be.  I 
have  suspected  all  along  that  there  was  something  between 
Signora  Candida  and  Evaristo. 

COUNT.  Oh,  that  is  quite  impossible.  If  it  were  so,  I 
should  know  about  it.  I  know  everything.  Nothing  is  ever 
done  in  this  village  that  I  do  not  know  about  it.  And  then, 
if  it  were  as  you  say,  do  you  think  she  would  ever  have 
agreed  to  your  proposal,  and  that  she  would  have  dared 
to  show  disrespect  to  a  gentleman  like  me  when  I  took  a 
hand  in  the  matter? 

BARON.  There  is  some  truth  in  that.  She  said  "yes" 
without  waiting  to  be  begged.  But  Signora  Gertrude,  after 


5  IL   VENTAGLIO. 

reading  those  letters,  was  no  longer  as  polite  to  me  as  before. 
Indeed,  to  a  certain  extent,  she  seemed  to  want  us  to  go. 

COUNT.  I  will  tell  you  what  I  think  about  it.  The  only 
thing  that  we  can  complain  about  in  this  case  is  that  Signora 
Gertrude  did  not  invite  us  to  stay  to  dinner  with  her. 

BARON.     I  don't  care  anything  about  that. 

COUNT.  I  tried  to  put  the  idea  into  her  head,  but  she 
pretended  not  to  understand. 

BARON.  I  assure  you  that  she  was  very  anxious  to  have 
us  leave. 

COUNT.  I  am  very  sorry  on  your  account.  But,  by  the 
way,  where  are  you  going  to  dine  to-day  ? 

BARON.     I  have  ordered  dinner  for  two  at  the  inn. 

COUNT.     For  two  ? 

BARON.  Evaristo  went  hunting,  and  I  am  waiting  for 
him  to  come  back  and  dine  with  me. 

COUNT.     Won't  you  come  and  dine  at  my  house? 

BARON.     At  your  house? 

COUNT.  The  only  thing  is  that  my  house  is  half  a  mile 
away. 

BARON.  Thank  you  very  much,  my  dinner  is  already 
ordered.  Eh,  there !  in  the  inn !  Coronato ! 


ACT  THIRD.    SCENE  II. 

Enter  CORONATO. 

COR.     What  do  you  wish? 

BARON.     Has  Signor  Evaristo  returned? 

COR.  I  have  not  yet  seen  him,  sir.  I  am  sorry,  because 
dinner  is  ready  and  it  is  getting  spoiled. 

COUNT.  Evaristo  is  capable  of  staying  out  in  the  woods 
till  dark,  and  making  you  lose  your  dinner. 


A.  M.  HARTWELL,  1911, 
as  Gi 'aim iua. 


IL   VENTAGLIO.  59 

BARON.  What  do  you  think  I  ought  to  do  ?  I  promised 
to  wait  for  him. 

COUNT.  Wait  for  him  ?  That  is  all  right,  up  to  a  certain 
point.  But,  my  dear  friend,  you  ought  not  to  wait  for  a 
man  whose  social  position  is  inferior  to  yours.  I  admit  that 
politeness  and  courtesy  ....  but,  my  dear  friend,  we  must 
maintain  our  dignity. 

BARON.  I  am  almost  ready  to  ask  you  to  take  Evaristo's 
place. 

COUNT.  If  you  don't  want  to  wait  any  longer,  and  if 
you  dislike  to  eat  alone,  come  to  my  house  and  we  will  eat 
whatever  we  find  there. 

BARON.  No,  my  dear  Count,  do  me  the  pleasure  to  come 
with  me.  We  will  begin  eating,  and  if  Evaristo  is  so 
impolite  as  to  be  late,  it  is  his  loss. 

COUNT.     (Pleased.)     Let  him  learn  manners. 

BARON.     (To  CORONATO.)     Have  the  dinner  served. 

COR.  Yes,  sir,  at  once.  (Aside.)  There  won't  be  much 
left  for  the  servants  if  the  Count  is  there ! 

BARON.     I  will  go  in  and  see  what  they  have  provided. 

(Exit.) 

COUNT.     Did  you  take  that  other  barrel  of  wine? 

COR.     Yes,  sir,  I  sent  it. 

COUNT.  You  didn't  send  it  without  going  yourself? 
They  will  play  some  trick  on  me. 

COR.  I  will  tell  you.  I  went  with  the  boy  as  far  as  the 
corner,  and  there  I  met  your  man. 

COUNT.     My  steward? 

COR.     No,  sir. 

COUNT.     My  footman? 

COR.     No,  sir. 

COUNT.    My  valet? 

COR.     No,  sir. 

COUNT.     Who  was  it,  then  ? 


60  IL   VENTAGLIO. 

COR.  That  fellow  who  lives  with  you  and  carries  to 
market  the  fruit,  the  vegetables  and  the  other  things. 

COUNT.     What?    That  man? 

COR.  Just  as  I  say.  I  met  him,  I  showed  him  the  barrel, 
and  he  went  the  rest  of  the  way  with  the  boy. 

COUNT.  (Aside.)  The  devil!  The  one  who  never 
drinks  any  wine  is  capable  of  drinking  half  the  barrel. 
(Is  about  to  enter  inn.) 

COR.     A  moment,  if  you  please. 

COUNT.     (Annoyed.)     What  is  it? 

COR.     Did  you  speak  to  Giannina  for  me? 

COUNT.     Yes,  I  did. 

COR.     And  what  did  she  say? 

COUNT.     (Embarrassed.)     It's  all  right,  it's  all  right. 

COR.     All  right,  is  it? 

COUNT.  (Trying  to  pass.)  We  will  speak  of  that  after- 
wards. 

COR.     But  tell  me  about  it  now. 

COUNT.     Come,  come,  I  must  not  keep  the  Baron  waiting. 

(Exit.) 

COR.  I  have  good  hope.  When  a  man  like  that  under- 
takes anything,  he  succeeds — sometimes!  (To  GIANNINA.) 
Giannina ! 

( GIANNINA,  sitting  and  spinning,  does  not  reply.) 

COR.     At  least  you  might  say  good-day  to  me. 

GIA.  (Without  looking  at  him.)  You  would  do  better 
to  give  me  back  my  fan. 

COR.  Yes  ....  (Aside.)  Oh,  by  the  way,  I  must 
have  left  the  fan  in  the  inn.  I  hope  nobody  has  carried 
it  away.  (To  GIANNINA.)  Yes,  yes,  we  will  speak  about 
the  fan  afterwards.  (Exit.) 


IL   VENTAGLIO.  6 1 

CRES.     (Laughing  loudly.)     Ha!   Ha!    Ha! 

Sus.  You  seem  to  be  pleased,  Signor  Crespino.  You 
are  laughing  heartily. 

CRES.  I  am  laughing  because  I  have  good  reason  to 
laugh. 

GIA.     You  are  laughing,  and  I  am  crazy  with  rage. 

CRES.     Rage?    What  are  you  enraged  about? 

GIA.     Because  that  fan  is  in  Coronato's  hands. 

CRES.  (Laughing.)  Oh,  yes.  It  is  in  Coronato's 
hands.  Ha!  ha! 

GIA.     Well,  what  are  you  laughing  at? 

CRES.     I  am  laughing  because  it  is  in  Coronato's  hands. 

(Exit  into  shop,  carrying  the  remains  of  his  lunch.) 

GIA.     He  laughs  like  a  fool. 

Sus.  (Working.)  I  didn't  expect  that  my  fan  would 
pass  through  so  many  hands. 

GIA.     (Sharply.)     Your  fan! 

Sus.  Yes,  I  say  "my  fan"  because  it  came  from  my 
shop. 

GIA.     They  paid  you  for  it,  didn't  they? 

Sus.  Of  course  they  did,  otherwise  they  wouldn't  have 
had  it. 

GIA.     And  I  dare  say  they  paid  double  what  it  was  worth. 

Sus.  That  is  not  true;  and  if  it  was,  what  business  is 
it  of  yours  ?  For  all  it  cost  you,  you  could  afford  to  keep  it ! 

GIA.     How  do  you  know  what  it  cost  me  ? 

Sus.  (Sarcastically.)  Oh,  if  it  cost  you  anything,  that 
is  different.  I  don't  know  whether  the  one  who  gave  it  to 
you  is  under  obligations. 

GIA.  (Angrily.)  Obligations?  What  do  you  say  about 
obligations  ?  I  am  surprised  at  you. 

Sus.     Well,  well,  don't  think  you  can  make  me  afraid. 


62  IL   VENTAGLIO. 

CRES.  (Entering  from  shop.)  What's  the  matter? 
Always  fighting;  always  yelling. 

GIA.     (Aside.)     I  am  so  mad  I  could  break  my  distaff ! 

Sus.  She  does  nothing  but  sneer  at  you,  and  then  she 
won't  let  you  talk  back. 

CRES.     (Beginning  to  work.)     Are  you  angry,  Giannina? 

GIA.     (Spinning.)     I  angry?     I  never  get  angry. 

Sus.  (Sarcastically.)  Oh,  she  is  so  peaceful,  she  never 
loses  her  temper ! 

GIA.  I  never  lose  my  temper  unless  they  tease  me,  and 
say  impertinent  things,  and  try  to  trample  on  me. 

(SUSANNA  tosses  her  head  and  grumbles  to  herself.) 

CRES.  (Working.)  Am  I  the  one  that  treated  you 
badly  and  trampled  on  you? 

GIA.  (Spinning;  angrily.)  I  was  not  talking  about 
you. 

Sus.  Oh,  no ;  she  is  not  talking  about  you,  she  is  talking 
about  me. 

CRES.  How  ridiculous!  In  this  little  village  of  four 
houses  you  cannot  have  a  moment's  peace. 

GIA.     When  there  are  these  sharp  tongues. 

CRES.     Be  still,  this  is  shameful. 

Sus.     She  insults  you,  and  won't  let  you  answer. 

GIA.     I  never  speak  without  good  reason. 

Sus.     I  had  better  be  quiet  and  say  nothing  more. 

GIA.  Certainly,  it  is  better  to  be  quiet  than  make  a  fool 
of  yourself. 

CRES.     She  always  wants  the  last  word! 

GIA.  Yes,  even  if  I  were  in  the  bottom  of  a  well.  He 
who  wants  me  may  take  me.  He  who  does  not,  may  leave 
me  alone. 

(Enter  TIMOTEO  from  palace  with  tray  and  bottles.) 


IL   VENTAGLIO.  63 

CRES.     Be  quiet,  be  quiet ;  don't  let  them  hear  you. 

TIM.  I  will  never  go  into  that  house  again.  What  fault 
is  it  of  mine,  if  those  medicines  are  of  no  use?  I  can  only 
give  what  I  have.  Out  here  in  the  country  they  expect  to 
find  all  the  luxuries  of  the  city.  And  then,  what  are  all 
their  tinctures  and  essences  and  panaceas?  Nothing  but 
quackery.  The  foundation  of  medical  science  is  water, 
quinine  and  mercury.  (Exit.) 

CRES.  (To  GIANNINA.)  There  must  be  somebody  sick 
in  the  palace. 

GIA.  (Scornfully.)  Oh,  yes,  that  precious  jewel  Sig- 
nora  Candida. 

Sus.     Poor  Signora  Candida! 

CRES.     What  is  the  trouble  with  her  ? 

GIA.     How  do  I  know  what  ails  her?    Something  silly. 

Sus.     I  know  perfectly  well  what  ails  Signora  Candida. 

CRES.     (To  SUSANNA.)     Well,  what? 

Sus.  I  should  think  Signora  Giannina  would  know  it, 
also. 

GIA.     What  have  I  got  to  do  with  it? 

Sus.  Yes,  naturally ;  because  she  is  sick  on  account  of 
you. 

GIA.     (Jumping  to  her  feet.)     On  account  of  me? 

Sus.     Yes.     There  is  no  enduring  you! 

CRES.  (Rising.)  I  should  like  to  know  what  all  this 
disturbance  means. 

GIA.  (To  SUSANNA.)  You  never  speak  without  mak- 
ing a  fool  of  yourself. 

Sus.     Come,  come,  don't  get  excited ! 

CRES.  (To  GIANNINA.)  Let  her  tell  what  she  has  to 
say. 

GIA.  (To  SUSANNA.)  What  reason  have  you  to  say 
that? 


64  IL  VENTAGLIO. 

Sus.     I  have  nothing  more  to  say. 

GIA.     Oh,  no;  speak. 

Sus.     No,  I  will  not.    Do  not  force  me  to  speak. 

GIA.     If  you  have  any  sense  of  honor,  you  will  speak ! 

Sus.     Very  well,  then,  I  will. 

CRES.  Keep  quiet,  keep  quiet,  here  comes  Signora  Ger- 
trude. Don't  make  a  scene  before  her.  (Returns  to  his 
work.) 

GIA.  (Going  toward  her  house.)  Oh,  I  must  have  an 
explanation  of  what  she  said. 

Sus.  (Working.)  She  wishes  me  to  speak?  Very 
well,  I  will! 

CRES.  (Working.)  I  wish  I  could  have  this  matter 
cleared  up ! 

ACT  THIRD.     SCENE  III. 
Enter  GERTRUDE  from  palace. 

GER.  (In  a  serious  tone,  to  GIANNINA.)  Tell  me,  will 
you,  has  your  brother  come  back? 

GIA.  (Rudely,  going  toward  her  house.)     Yes,  he  has. 

GER.  Has  Signer  Evaristo  come  back  also? 

GIA.  Yes,  he  has. 

GER.  Do  you  know  where  Signer  Evaristo  is? 

GIA.  I  don't  know  anything  about  it.    Excuse  me. 

(Exit.) 

GER.     What  manners!     (She  calls.)     Crespino! 
CRES.     (Rising.)     Signora? 
GER.     Do  you  know  where  Signer  Evaristo  is  ? 
CRES.     No,  signora,  I  don't  know  at  all. 
GER.     Will  you  be  good  enough  to  go  and  see  if  he  is 
in  the  inn? 

CRES.     With  pleasure.  (Exit  into  inn.) 


IL   VENTAGLIO.  65 

Sus.     Signora  Gertrude! 

GER.     What  is  it? 

Sus.     (Rising.)     One  word. 

GER.     Do  you  know  anything  about  Signer  Evaristo? 

Sus.  Eh,  my  dear  lady,  I  know  quite  a  lot.  I  could  tell 
you  a  number  of  things. 

GER.  Heavens!  I,  too,  have  things  to  disturb  me.  I 
have  just  seen  some  letters  which  surprised  me.  Tell  me, 
explain,  I  beg  of  you ! 

Sus.  But  here,  in  public?  We  have  to  deal  with  people 
of  no  sense.  If  you  would  like  to  have  me  come  into  your 
house  .... 

GER.     I  wish  to  see  Signer  Evaristo  first. 

Sus.     Or  if  you  would  like  to  come  into  my  house  .... 

GER.  Yes,  that  would  be  better.  But  let  us  wait  for 
Crespino. 

Sus.     Here  he  comes. 

(Enter  CRESPINO.) 

GER.     Well? 

CRES.  He  is  not  there,  signora;  they  expected  him  to 
dinner,  but  he  has  not  come. 

GER.     And  yet  he  must  have  come  back  from  his  hunt. 

CRES.     Oh,  certainly,  he  came  back;    I  saw  him. 

GER.     Where  can  he  be? 

Sus.     He  is  not  in  the  cafe. 

CRES.     He  is  not  at  the  apothecary's. 

GER.  Look  for  him,  if  you  please.  The  village  is  not 
very  large.  See  if  you  can  find  him. 

CRES.     I  will  go  immediately. 

GER.  If  you  find  him,  tell  him  that  I  must  speak  to  him 
at  once,  and  that  I  am  waiting  for  him  in  Susanna's  house. 

CRES.     Very  good. 

GER.     Come  in,  I  am  anxious  to  hear. 


66  IL   VENTAGLIO. 

Sus.     Come  in,  come  in ;  you  will  hear  some  fine  things. 
(Exeunt  GERTRUDE  and  SUSANNA.) 

CRES.  Some  trouble  with  this  Signer  Evaristo!  And 
then,  how  about  the  fan  ?  I  am  glad  that  it  is  in  my  hands. 
Coronato,  by  this  time,  has  found  out  that  it  is  gone.  I 
am  glad  that  he  has  no  suspicion  of  me.  No  one  is  likely 
to  have  told  him  that  I  went  in  to  buy  some  wine.  I  went 
just  at  the  right  time.  Who  would  ever  have  expected 
that  I  should  find  the  fan  lying  on  a  cask?  It  is  the  most 
remarkable  coincidence!  What  a  fool  he  was  to  leave  the 
fan  on  the  cask!  The  boy  was  drawing  the  wine,  and  I 
picked  it  up  and  put  it  under  my  jacket.  Coronato  was 
simple  enough  to  ask  me  if  I  had  seen  it,  if  I  knew  anything 
about  it!  Am  I  such  a  fool  as  to  tell  him  that  I  took  it, 
so  that  he  may  go  about  saying  that  I  stole  it?  He  is 
capable  of  calling  me  a  robber.  Yes,  he  is  certainly  cap- 
able of  that.  But  where  shall  I  go  to  look  for  Signer 
Evaristo?  He  is  not  with  the  Count,  because  the  Count 
is  eating  with  all  his  might  in  the  inn.  Well,  I  will  look 
around  the  village.  There  are  only  six  or  seven  houses. 
I  will  find  him.  I  am  sorry  that  I  don't  yet  understand 
what  Susanna  said.  I  will  speak  to  her.  If  I  find  Gian- 
nina  at  fault,  what  shall  I  do  ?  Give  her  up  ?  Well,  I  don't 
know  about  that,  I  am  very  fond  of  her.  But  what  can 
it  be? 


ACT  THIRD.     SCENE  IV. 
Enter  LIMONCINO,  as  CRESPINO  is  about  to  go. 

CRES.     I  say,  can  you  tell  me  where  Signer  Evaristo  is  ? 
LIM.     I?     How  should  I  know?    Am  I  his  servant? 
CRES.     What  nonsense !     I  thought  he  might  be  in  your 


cafe. 


IL   VENTAGLIO.  67 

LIM.  In  that  case  you  would  see  him. 

CRES.  The  deuce  take  you,  Limoncino! 

LIM.  Why  do  you  call  me  Limoncino? 

CRES.  Come,  come,  just  ask  me  to  mend  your  shoes ! 

(Exit.) 

LIM.  What  a  fool  he  is!  Shall  I  tell  him  that  Signer 
Evaristo  is  in  our  garden?  Now  that  he  is  happy  and 
contented,  he  doesn't  want  to  be  disturbed.  (Calling.) 
Oh,  there,  in  the  inn ! 

COR.     (At  the  door.)     What  is  it? 

LIM.  Signer  Evaristo  has  sent  me  to  ask  you  to  tell  the 
Baron  not  to  wait  for  him,  because  he  will  not  be  able  to 
come. 

COR.  Tell  him  that  his  message  is  too  late,  and  that  the 
Baron  has  already  almost  finished  his  dinner. 

LIM.  That  is  all  right,  then.  I  will  tell  him  when  I 
see  him. 

COR.     I  say,  young  man ! 

LIM.     What  is  it  ? 

COR.  Have  you  happened  to  hear  anyone  say  that  he 
found  a  fan  ? 

LIM.     No,  I  haven't. 

COR.  If  you  hear  anything  about  it,  I  beg  you  to  let  me 
know. 

LIM.     Why  yes,  certainly.    Have  you  lost  one? 

COR.  I  had  one.  I  don't  know  how  the  deuce  it  got 
lost.  Some  fellow  carried  it  away,  and  those  stupid  ser- 
vants of  mine  cannot  tell  me  who  came  to  get  wine.  If  I 
find  him,  if  I  find  him  ....  well,  good-day  to  you. 

(Exit.) 
LIM.     I  will  do  what  I  can.     (About  to  leave.) 


68  IL   VENTAGLIO. 

ACT  THIRD.     SCENE  V. 
Enter  COUNT  from  the  inn. 

COUNT.     I  heard  Limoncino's  voice.    Eh,  young  man ! 

LIM.     Yes,  sir. 

COUNT.     Bring  two  good  cups  of  coffee. 

LIM.     For  whom,  sir? 

COUNT.     For  me. 

LIM.     Both  of  them  for  you? 

COUNT.     One  for  me,  and  one  for  the  Baron  del  Cedro. 

LIM.     Certainly,  sir. 

COUNT.     Hurry  up;  and  make  the  coffee  fresh!    (Exit.) 

LIM.  As  long  as  the  Baron  is  there,  it  will  be  paid  for; 
I  will  get  it. 

GIA.     (At  her  door.)     Eh,  Limoncino ! 

LIM.  You  also,  insulting  me  with  that  name  of  Lim- 
oncino ? 

GIA.  Come,  come,  don't  get  angry;  I  didn't  call  you 
turnip  or  pumpkin  or  cucumber  or  egg-plant. 

LIM.     Have  you  anything  else  to  call  me? 

GIA.  (Calmly.)  Come  here  and  tell  me:  is  Signer 
Evaristo  still  there? 

LIM.     There?    Where? 

GIA.     In  the  cafe. 

LIM.     In  our  cafe? 

GIA.     Yes,  in  your  cafe ! 

LIM.  The  cafe  is  right  here.  You  would  see  him  if  he 
was  there. 

GIA.     Well,  is  he  in  the  garden? 

LIM.     Well,  I  don't  know  anything  about  it!         (Exit.) 

GIA.  What  a  beast  he  is !  If  I  had  my  distaff,  I  would 
break  it  over  his  head.  And  yet  people  say  that  I  am 
quick-tempered!  They  all  tease  me  and  treat  me  badly. 
Those  ladies  over  there,  this  silly  Susanna  here,  Moracchio, 
Coronato,  Crespino  ....  oh,  confound  them  all ! 


IL   VENTAGLIO.  69 

ACT  THIRD.     SCENE  VI. 
Enter  EVARISTO  from  cafe. 

EVA.  (To  GIANNINA.)  Oh,  there  you  are,  there  you 
are!  I  am  in  luck! 

GIA.     Well,  what  does  all  this  joy  mean? 

EVA.     Oh,  Giannina,  I  am  the  happiest  man  in  the  world ! 

GIA.  I  am  glad  to  hear  it;  and  I  hope  that  you  will 
make  them  give  me  satisfaction  for  all  the  insults  I  have 
had  to  endure. 

EVA.  Yes,  yes,  anything  you  like.  You  must  know, 
Giannina,  that  you  were  under  suspicion.  Signora  Candida 
found  out  that  I  had  given  you  the  fan.  She  thought  I  had 
bought  it  for  you.  She  was  jealous  of  me,  and  jealous  of 
you. 

GIA.     Jealous  of  me? 

EVA.     Yes,  naturally. 

GIA.  (Speaking  toward  palace.)  May  the  plague  take 
you! 

EVA.  She  was  going  to  marry  another  man  through 
spite,  revenge  and  despair;  but  when  she  saw  me,  she  fell 
down  in  a  faint.  I  was  not  able  to  see  her  for  some  time ; 
but  finally,  through  good  fortune,  her  aunt  went  out  of  the 
house,  and  Candida  came  into  the  garden.  I  broke  through 
the  hedge,  climbed  over  the  wall,  threw  myself  at  her  feet, 
wept,  begged,  implored,  and  at  last  persuaded  her.  In  short, 
she  is  mine !  she  is  mine !  I  have  nothing  more  to  fear. 

GIA.  (Stiffly.)  I  am  sure  I  am  very  glad  to  hear  it. 
She  will  be  yours,  always  yours.  I  am  very  glad,  very 
much  pleased. 

EVA.  She  has  imposed  one  single  condition  before  she 
will  complete  my  happiness. 

GIA.     What  is  this  condition? 


7°  IL   VENTAGLIO. 

EVA.  To  justify  myself,  and  to  justify  you  at  the  same 
time,  as  well  as  to  give  her  a  reasonable  satisfaction,  she 
asks  that  I  give  her  the  fan. 

GIA.     (Aside.)     Now  we  are  in  a  fix. 

EVA.  My  reputation  and  yours  are  at  stake.  If  I  can- 
not give  it  to  her  it  will  seem  as  if  I  had  bought  it  for  you, 
and  will  give  credit  to  her  suspicions.  I  know  that  you 
are  a  sensible  girl.  Please  give  me  the  fan. 

GIA.     (Embarrassed.)     Sir,  I  no  longer  have  the  fan. 

EVA.  Oh,  come,  you  are  quite  right.  I  gave  it  to  you, 
that  is  true,  and  I  would  not  ask  it  back  if  I  were  not  in 
extreme  need  of  it.  I  will  buy  another  one  for  you — a 
much  better  one  than  that.  But  for  love  of  Heaven, 
give  me  at  once  the  one  that  I  gave  you. 

GIA.     But  I  tell  you,  sir,  I  haven't  it  any  longer. 

EVA.  (Excited.)  Giannina,  my  life  and  your  reputa- 
tion are  at  stake. 

GIA.  I  tell  you  on  my  word  of  honor,  with  any  oath  you 
like,  that  I  no  longer  have  the  fan. 

EVA.     Heavens !   what  have  you  done  with  it  ? 

GIA.  They  found  out  that  I  had  the  fan,  and  they 
jumped  on  me  like  three  mad  dogs. 

EVA.     (Furiously.)     Who? 

GIA.     My  brother  .... 

EVA.     (Running  toward  her  house.)     Moracchio! 

GIA.     No,  stop ;  Moracchio  didn't  get  the  fan. 

EVA.     (Stamping  his  foot.)     Who  then? 

GIA.     I  gave  it  to  Crespino. 

EVA.  (Running  toward  CRESPINO'S  house.)  Crespino, 
where  are  you? 

GIA.     Come  here,  listen. 

EVA.     I  am  beside  myself. 

GIA.     Crespino  hasn't  it  now. 

EVA.     Well,  then,  who  has  it?    Who  has  it?    Quick! 


IL   VENTAGLIO.  71 

GIA.  That  wretch  Coronato. 

EVA.  (Running  toward  the  inn.)  Coronato!  Quickly, 
Coronato ! 

COR.  (Appearing  at  door.)     Sir? 

EVA.  Give  me  the  fan ! 

COR.  What  fan? 

GIA.  The  one  that  I  had,  which  belongs  to  him. 

EVA.  Come,  quickly,  quickly.    Waste  no  more  time! 

COR.  Sir,  I  am  terribly  sorry,  but  .... 

EVA.  But  what? 

COR.  The  fan  cannot  be  found. 

EVA.  Cannot  be  found? 

COR.  I  put  it  on  a  cask,  carelessly,  and  left  it  there  when 
I  went  out.  Then  I  came  back,  and  could  not  find  it.  Some- 
one had  carried  it  away. 

EVA.  It  must  be  found! 

COR.  But  where?     I  have  looked  everywhere  for  it. 

EVA.  Could  ten,  twenty,  thirty  sequins  find  it? 

COR.  When  it's  not  there,  it's  not  there. 

EVA.  I  am  in  despair. 

COR.  I  am  sorry,  but  I  don't  know  what  to  do  about  it. 

(Exit.} 

EVA.  (To  GIANNINA.)  You  are  my  ruination,  my 
destruction. 

GIA.     How  is  it  my  fault? 


ACT  THIRD.     SCENE  VII. 
Enter  CANDIDA  on  balcony. 

CAN.  (Calling.}     Signer  Evaristo! 

EVA.  There  she  is !    I  am  in  despair. 

GIA.  Oh,  nonsense!    Has  the  world  come  to  an  end  for 
that? 


7 2  IL   VENTAGLIO. 

CAN.     Signer  Evaristo! 

EVA.  Ah,  my  beloved  Candida,  I  am  the  most  unhappy 
man  in  the  world. 

CAN.     Ah,  I  suppose  you  cannot  get  the  fan? 

GIA.     (Aside.)     She  guessed  it  right  the  first  time! 

EVA.  What  a  combination  of  circumstances!  Yes, 
unfortunately,  that  is  true;  the  fan  has  been  lost,  and  it 
is  impossible  to  find  it. 

CAN.     I  have  an  idea  where  it  may  be. 

EVA.  Where?  where?  If  you  could  help  me  to  find 
it  .... 

GIA.     It  may  be  that  someone  has  found  it  already. 

EVA.     (To  GIANNINA.)     What  do  you  know? 

CAN.  The  fan  must  be  in  the  hands  of  the  one  to  whom 
you  gave  it,  and  she  is  quite  right  if  she  does  not  wish  to 
return  it. 

GIA.     Nothing  of  the  sort ! 

CAN.     That  is  enough  from  you. 

EVA.     I  swear  on  my  word  of  honor  .... 

CAN.  I  have  heard  enough,  and  my  mind  is  made  up. 
I  am  surprised  to  learn  that  you  compare  me  with  this 
country  girl.  (Exit.) 

GIA.     What  do  you  mean  by  country  girl? 

EVA.  (To  GIANNINA.)  I  swear  to  Heaven,  you  are  the 
cause  of  all  my  trouble. 

GIA.     See  here,  don't  act  like  a  fool. 

EVA.  She  has  made  up  her  mind,  and  I  must  make  up 
mine.  I  will  await  my  rival  and  attack  him  with  my  sword. 
The  wretch  will  die,  or  else  I  shall  sacrifice  my  own  life. 
It  is  all  on  your  account  that  I  am  in  this  trouble. 

GIA.  (Going  slowly  toward  her  house.)  I  think  I  had 
better  go  home.  I  am  afraid  he  is  going  to  lose  his  wits. 


IL   VENTAGLIO.  73 

EVA.  My  passion  fills  my  heart.  I  can  scarcely  breathe. 
My  knees  are  trembling.  My  eyes  grow  dim;  who  will 
help  me?  {He  sinks  into  a  chair.} 

GIA.  What  is  it?  What  is  it?  Is  he  dying?  Poor 
gentleman !  He  is  dying.  Help !  Somebody  come !  Oh, 
Moracchio ;  oh,  in  the  cafe ! 


ACT  THIRD.     SCENE  VIII. 

Enter  LIMONCINO  with  two  cups  of  coffee,  going  toward 
the  inn;  MORACCHIO  from  his  house,  CRESPINO  and  TIM- 
OTEO. 

CRES.  Oh,  there  is  Signer  Evaristo.  What  has  hap- 
pened to  him  ? 

GIA.     (To  LIMONCINO.)     Water,  water! 

CRES.     Wine,  wine!  (Exit  to  shop.) 

LIM.  Give  him  some  wine.  I  must  carry  this  coffee  to 
the  inn.  (Exit.) 

MOR.  Courage,  courage,  Signor  Evaristo.  It  is  time  to 
go  hunting. 

GIA.  That's  right,  talk  about  hunting!  He  is  in  love. 
That's  the  only  trouble. 

TIM.     What  is  the  matter? 

MOR.     Come  here,  come  here,  Signor  Timoteo. 

GIA.     Come  and  do  something  for  this  poor  gentleman. 

TIM.     What  is  the  matter  with  him? 

GIA.     He  is  in  a  faint. 

TIM.     I  must  bleed  him. 

MOR.     Can  you  do  that? 

TIM.     In  case  of  need  one  does  anything.  (Exit.) 

GIA.     Oh,  poor  Signor  Evaristo!   he  will  kill  him. 

(Enter  CRESPINO  with  a  bottle  of  wine.) 


74  IL   VENTAGLIO. 

CRES.  Here,  here,  this  will  revive  him.  It  is  good  old 
wine. 

GIA.  He  seems  to  be  coming  to  his  senses. 

CRES.  Oh,  this  would  bring  the  dead  to  life. 

MOR.  Courage,  courage,  brace  up. 

(Enter  TIMOTEO  with  a  glass,  towel,  and  razor.) 

TIM.     Here  I  am  now.    Quick !    Roll  up  his  sleeve. 

MOR.     What  are  you  going  to  do  with  that  razor? 

TIM.     In  an  emergency  it  does  better  than  a  lancet. 

CRES.     A  razor? 

GIA.     A  razor? 

EVA.  (Pathetically.')  Who  wants  to  assassinate  me 
with  a  razor? 

GIA.     Signer  Timoteo. 

TIM.  I  am  an  honest  man.  I  assassinate  no  one.  And 
when  I  am  doing  the  best  I  can,  no  one  has  a  right  to  find 
fault.  (Aside.)  Just  call  me  again,  and  see  whether  I 
will  come.  (Exit.) 

MOR.  Will  you  come  to  my  house,  Signor  Evaristo? 
You  can  rest  on  my  bed. 

EVA.     I  will  go  wherever  you  like. 

MOR.     Give  me  your  arm,  lean  on  me. 

EVA.  How  much  better  if  my  unhappy  life  could  come 
to  an  end.  (Walks,  leaning  on  MORACCHIO.) 

GIA.  Now  he  wants  to  die.  I  will  call  the  apothecary 
again.  He  will  be  able  to  oblige  him. 

MOR.     Here  we  are  at  the  door.     Come  in. 

EVA.     Your  pity  is  useless  to  one  who  wishes  only  to  die. 

MOR.  Giannina,  come  and  fix  the  bed  for  Signor 
Evaristo. 

(Exeunt  EVARISTO  and  MORACCHIO  into  house; 
GIANNINA  starts  to  follow.) 


E.    M.   WOOLLEY,    IQI  I, 

as  Count  of  Rocca  Marina. 


IL  VENTAGLIO.  75 

CRES.     Giannina ! 

GIA.     What  is  it? 

CRES.     You  are  very  sympathetic  with  this  gentleman. 

GIA.  I  am  doing-  my  duty,  because  you  and  I  are  the 
cause  of  his  trouble. 

CRES.  I  don't  know  about  you,  but  what  have  I  to  do 
with  it? 

GIA.     All  on  account  of  that  wretched  fan.  (Exit.) 

CRES.  Confounded  fan!  I  must  have  heard  them  talk 
about  that  fan  a  million  times ;  but  I  am  glad  of  it,  on 
account  of  that  miserable  Coronato.  He  is  my  enemy,  and 
I  am  afraid  of  him  until  I  am  safely  married  to  Giannina. 
I  might  bury  the  fan  in  the  ground  somewhere;  but  then 
somebody  might  walk  over  it  and  break  it.  Whatever  I 
do,  I  don't  want  them  to  get  me  into  trouble.  In  a  thing 
like  this  the  poor  man  has  to  suffer.  (Goes  to  his  bench 
and  takes  the  fan.) 

(Enter  from  inn  LIMONCINO  with  empty  cups,  and  COUNT, 

who  walks  about  with  the  air  of  a  man  who  has 

dined  well.) 

LIM.     Thank  you,  sir. 

COUNT.  Wait  a  moment !  ( Takes  a  piece  of  sugar  and 
puts  it  into  his  mouth.)  For  the  chills. 

LIM.     For  the  throat. 

COUNT.     Wrhat's  that? 

LIM.     I  say,  it  is  good  for  the  throat.  (Exit.) 

CRES.  (Coming  forward  with  the  fan.)  I  might  al- 
most— yes,  that's  a  good  plan. 

COUNT.     Oh,  good-day,  Crespino. 

CRES.     Your  illustrious  lordship's  humble  servant. 

COUNT.     Are  my  shoes  mended? 

CRES.  (Showing  the  fan.)  They  will  be  done  to-mor- 
row. 


76  IL  VENTAGLIO. 

COUNT.     What  have  you  in  that  paper  ? 

CRES.     Something  that  I  found  on  the  ground  near  the 
inn. 

COUNT.     Let  me  see  it. 

CRES.     Take  it,  sir.     (Gives  it  to  him.) 

COUNT.  Oh,  a  fan.  Someone  going  by  must  have  lost 
it.  What  are  you  going  to  do  with  this  fan? 

CRES.     Really,  I  don't  know  what  to  do  with  it. 

COUNT.     Do  you  want  to  sell  it? 

CRES.  Sell  it  ?  I  should  not  know  how  much  to  ask  for 
it.  How  much  do  you  think  it  is  worth? 

COUNT.  I  have  no  idea.  There  are  pictures  on  it,  but 
a  fan  picked  up  in  the  country  cannot  be  worth  much. 

CRES.     I  should  be  glad  if  it  was  valuable. 

COUNT.     So  as  to  sell  it,  I  suppose  ? 

CRES.  No,  really,  sir,  to  have  the  pleasure  of  presenting 
it  to  your  illustrious  lordship. 

COUNT.     To  me?    You  wish  to  present  it  to  me? 

CRES.     But  if  it  is  not  good  enough  for  you  .... 

COUNT.  Oh,  yes,  it's  a  good  fan.  It  is  very  pretty.  I 
am  much  obliged  to  you,  my  good  man.  If  I  can  do  so, 
I  will  give  you  the  benefit  of  my  protection.  (Aside.)  I 
can  make  a  present  of  it  to  someone. 

CRES.     But  I  beg  you  to  do  me  a  favor. 

COUNT.  (Aside.)  I  knew  it!  These  people  never  give 
anything  without  wanting  something  in  return.  (To  CRES- 
PINO.)  What  do  you  want?  Speak. 

CRES.     I  beg  you  not  to  say  that  you  got  it  from  me. 
COUNT.     Is  that  all  you  want? 
CRES.     That  is  all. 

COUNT.  (Aside.)  Well,  I  declare!  (To  CRESPINO.) 
If  you  wish  nothing  else — but  tell  me,  please,  why  do  you 
not  wish  it  to  be  known  that  I  received  it  from  you?  Did 
you  steal  it? 


IL   VENTAGLIO.  77 

CRES.     Pardon  me,  sir,  I  am  not  capable  .... 

COUNT.  But  why  do  you  not  wish  it  to  be  known  that  I 
received  it  from  you?  If  you  found  it,  and  if  the  owner 
does  not  ask  for  it,  I  see  no  reason. 

CRES.     And  yet  there  is  a  reason. 

COUNT.     What  is  that? 

CRES.     I  will  tell  you.    I  have  a  sweetheart. 

COUNT.     I  know,  it  is  Giannina. 

CRES.  And  if  Giannina  should  find  out  that  I  had  this 
fan  and  had  not  given  it  to  her,  she  would  be  mad  as  the 
deuce. 

COUNT.  You  are  quite  right  not  to  give  it  to  her.  It  is 
no  fan  for  a  peasant  girl.  (Putting  it  in  his  pocket.)  Do 
not  worry,  I  will  say  nothing  about  getting  it  from  you. 
But,  by  the  way,  how  are  your  affairs  with  Giannina?  Do 
you  really  wish  to  marry  her? 

CRES.  To  tell  the  truth,  I  must  confess  my  weakness. 
I  do  want  to  marry  her. 

COUNT.  In  that  case,  do  not  worry.  I  will  see  that  you 
marry  her  at  once,  if  you  wish. 

CRES.     Truly? 

COUNT.  Do  you  know  who  I  am?  Do  you  know  what 
my  protection  means  ? 

CRES.     But  Coronato  wishes  to  marry  her,  too. 

COUNT.  Coronato?  Coronato  is  a  fool.  Does  Giannina 
love  you? 

CRES.     Oh  my,  yes ! 

COUNT.  Very  well,  then.  You  are  the  one  she  loves, 
and  she  cannot  endure  Coronato.  You  may  be  sure  of  my 
protection. 

CRES.     That  is  all  very  well ;  but  her  brother  ? 

COUNT.  Her  brother,  her  brother?  When  the  sister  is 
satisfied,  what  has  the  brother  to  do  with  it?  You  may 
depend  upon  my  protection. 


7  8  IL   VENTAGLIO. 

CRES.     I  recommend  myself  to  your  kindness. 

COUNT.     Yes,  to  my  protection. 

CRES.     I  will  go  and  finish  mending  your  boots. 

COUNT.  Don't  talk  so  loud.  I  ought  to  have  a  new 
pair. 

CRES.     You  shall  have  them. 

COUNT.  Oh,  I  am  willing  to  pay  for  them,  don't  you 
know;  you  must  not  suppose  ....  I  never  sell  my 
protection ! 

CRES.     Certainly  not  for  a  pair  of  boots. 

COUNT.  Very  well,  go  back  to  your  work.  (He  ex- 
amines the  fan.) 

CRES.  Certainly,  sir.  (Aside.)  Oh,  cospetto  di  Bacco! 
I  forget  all  about  it!  Signora  Gertrude  sent  me  to  find 
Signor  Evaristo.  I  found  him  here,  and  did  not  give  him 
the  message.  His  fainting — the  fan — I  forgot  all  about  it. 
I  might  go  and  tell  him  now,  but  I  don't  like  to  go  into  that 
house  on  account  of  Moracchio.  This  is  what  I  will  do.  I 
will  go  and  find  Signora  Gertrude,  I  will  tell  her  that 
Signor  Evaristo  is  in  Giannina's  house,  and  she  can  send 
someone  to  call  him.  (Exit  to  SUSANNA'S  shop.} 

COUNT.  Look  and  see  this.  Here  is  a  fan.  How  much 
can  it  be  worth?  I  don't  know.  Seven  or  eight  crowns. 
If  it  was  something  better,  I  would  give  it  to  Signora  Can- 
dida. She  broke  her  own  this  morning.  Well,  why  not? 
It  is  not  such  a  bad  fan,  after  all. 

GIA.  (From  her  house.)  I  cannot  find  Crespino. 
Where  can  he  be? 

COUNT.  The  pictures  are  not  very  well  painted,  but  they 
are  not  badly  drawn. 

GIA.  What  is  this  I  see?  The  fan  in  the  hands  of  the 
Count!  Quickly,  quickly,  I  must  go  and  wake  up  Signor 
Evaristo.  (Exit.) 


IL   VENTAGLIO.  79 

COUNT.     Oh,  well,  a  present  is  never  refused.    I  will  give 
it  to  her. 


ACT  THIRD.     SCENE  IX. 

BARON.  (Entering  from  inn.)  My  friend,  you  left  me 
there  alone. 

COUNT.     I  saw  that  you  were  tired  of  talking. 

BARON.  Yes,  that  is  true.  I  am  not  reconciled  yet.  Tell 
me,  do  you  think  this  is  a  good  time  to  see  whether  we  can 
speak  to  the  ladies  again? 

COUNT.  Why  not?  A  good  idea  has  just  come  into  my 
head.  Would  you  like  to  have  me  give  you  a  present  ?  You 
could  give  it  in  turn  to  Signora  Candida. 

BARON.     What  is  this  present? 

COUNT.  Do  you  know  that  this  morning  she  broke  her 
fan? 

BARON.     Yes,  so  I  heard. 

COUNT.  Here  is  a  new  fan.  Let  us  see  if  we  can  find 
her,  and  then  you  can  give  her  the  fan.  Keep  it,  keep  it, 
it  is  not  so  bad.  (Gives  the  fan  to  the  BARON.) 

BARON.     You  wish  then  .... 

COUNT.  Yes,  you  give  it  to  her.  I  have  no  reason  for 
giving  her  a  present.  I  will  let  you  take  the  credit  for  it. 

BARON.  I  will  gladly  avail  myself  of  your  kindness,  but 
allow  me  to  ask  how  much  it  cost  you  ? 

COUNT.     Why  do  you  want  to  know  how  much  it  cost  ? 

BARON.     So  as  to  pay  for  it. 

COUNT.  Oh,  that  does  not  matter.  You  remember  that 
you  gave  me  the  pistols. 

BARON.  I  have  nothing  more  to  say.  I  will  accept  your 
kindness.  (Aside.)  Where  in  the  world  did  he  find  this 
fan?  He  has  no  money  to  buy  one  with. 


8o  IL  VENTAGLIO. 

COUNT.  What  do  you  think  of  it?  Is  it  not  beautiful? 
Didn't  it  come  in  the  nick  of  time?  On  such  occasions  I 
know  what  is, required.  I  know  how  to  arrange  things.  I 
have  an  entire  roomful  of  little  presents  for  ladies.  Well, 
come  along,  let  us  lose  no  time.  (Knocks  at  the  palace.} 

TOG.     (On  the  balcony.)     What  do  you  wish? 

COUNT.     Are  the  ladies  at  home? 

TOG.  Signora  Gertrude  is  not  at  home,  and  Signora 
Candida  is  resting  in  her  room. 

COUNT.     As  soon  as  she  wakes  up,  tell  us. 

TOG.     Very  good.  (Exit.) 

COUNT.     Did  you  hear  that? 

BARON.  We  must  wait  awhile.  I  have  a  letter  to  write. 
I  will  go  into  the  apothecary's  and  write  it.  Will  you  come 
with  me? 

COUNT.  No,  no,  I  don't  care  about  going  into  that  store. 
You  go  and  write  your  letter,  and  I  will  stay  here  until  the 
servant  comes  to  bring  us  word. 

BARON.  Very  well.  When  you  give  the  signal  I  will  be 
with  you. 

COUNT.     Trust  me. 

BARON.  (Aside.)  I  have  small  confidence  in  him,  still 
less  in  the  aunt,  and  least  of  all  in  the  niece.  (Exit.) 

COUNT.  I  will  amuse  myself  with  my  book.  My  pre- 
cious collection  of  fables.  (Takes  book  from  pocket,  sits 
down  and  reads.) 


ACT  THIRD.     SCENE  X. 

EVA.  (Entering  from  GIANNINA'S  house.)  Oh,  there 
he  is  still.  I  was  afraid  he  might  have  gone.  I  do  not 
understand  how  I  could  have  fallen  asleep,  with  all  my 
troubles;  but  I  was  completely  worn  out.  Now  I  feel 


IL   VENTAGLIO.  8 1 

better,  and  I  hope  to  get  back  the  fan.  (To  the  COUNT.) 
Count,  I  am  your  servant. 

COUNT.     (Reading.)     Your  servant. 

EVA.     Will  you  allow  me  to  say  a  word  to  you? 

COUNT.  (Still  reading.)  I  will  be  with  you  in  a 
moment. 

EVA.  (Aside.)  If  he  has  not  the  fan  in  his  hand  I 
don't  see  how  I  can  introduce  the  subject. 

COUNT.  (Rising,  putting  away  the  book.)  Here  I  am. 
What  can  I  do  for  you? 

EVA.  (Looking  to  see  if  he  has  the  fan.)  Pardon  me 
if  I  have  disturbed  you. 

COUNT.  Not  at  all,  not  at  all.  I  will  finish  the  fable 
another  time. 

EVA.     I  should  not  like  to  have  you  call  me  troublesome. 

COUNT.  (Looking  at  his  own  clothes.)  What  are  you 
looking  at?  Is  there  a  spot  on  me  anywhere? 

EVA.  I  beg  your  pardon,  someone  told  me  that  you  had 
a  fan. 

COUNT.  (Embarrassed.)  A  fan?  Yes,  that  is  true. 
Did  you  lose  it  ? 

EVA.     Yes,  I  lost  it. 

COUNT.  But  there  are  plenty  of  fans  in  the  world.  How 
do  you  know  that  this  is  the  one  that  you  lost? 

EVA.     Will  you  have  the  kindness  to  let  me  see  it  ? 

COUNT.  My  dear  friend,  I  am  sorry  to  say  that  you 
are  too  late. 

EVA.     How  too  late? 

COUNT.     The  fan  is  no  longer  in  my  hands. 

EVA.     (Excited.)     No  longer  in  your  hands? 

COUNT.     No;    I  gave  it  to  somebody. 

EVA.  (More  and  more  excited.)  Who  is  the  person 
that  you  gave  it  to? 


82  IL   VENTAGLIO. 

COUNT.     That  is  what  I  am  not  willing  to  tell  you. 

EVA.  Count,  I  absolutely  must  know.  I  need  the  fan, 
and  you  must  tell  me  who  has  it. 

COUNT.     I  will  tell  you  nothing  about  it. 

EVA.     I  swear  to  Heaven  you  will  tell  me! 

COUNT.     What  ?     Will  you  forget  your  respect  for  me  ? 

EVA.  I  say  it  and  I  repeat  it.  You  are  not  acting  like 
a  gentleman. 

COUNT.  Do  you  know  that  I  have  a  pair  of  loaded 
pistols  in  my  pocket? 

EVA.  What  do  I  care  about  your  pistols?  Give  me  my 
fan,  sir. 

COUNT.  What  the  devil  does  this  mean?  Such  a  fuss 
on  account  of  a  wretched  fan !  Scarcely  worth  a  penny ! 

EVA.  Whatever  it  may  be  worth,  you  have  no  idea  what 
it  cost  me,  and  what  I  would  give  to  get  it  back.  I  would 
give  fifty  sequins. 

COUNT.     You  would  give  fifty  sequins? 

EVA.  Yes,  gladly,  if  I  could  find  it  again  I  would  give 
fifty  sequins. 

COUNT.  Diavolo !  It  must  have  been  painted  by  Titian, 
or  Raphael. 

EVA.     See  here,  Count,  will  you  do  me  this  favor? 

COUNT.  I  will  see  if  I  can  get  it  back;  but  it  will  be 
difficult. 

EVA.  If  the  person  who  has  it  is  willing  to  give  it  up 
for  fifty  sequins,  call  on  me. 

COUNT.  If  I  had  it,  I  should  be  offended  at  such  a 
proposal. 

EVA.  Undoubtedly,  but  perhaps  the  person  who  has  it 
will  not  be  offended. 

COUNT.  Oh,  as  for  that,  this  person  would  be  offended 
as  much  as  I  would,  and  perhaps  ....  my  friend,  I 
assure  you  that  I  don't  know  what  to  do. 


IL   VENTAGLIO.  83 

EVA.  Let  us  arrange  it  this  way,  Count.  Here  is  a  gold 
snuff-box,  which  is  worth  fifty-four  sequins  by  weight  alone. 
You  know  that  the  workmanship  doubles  the  value.  Never 
mind;  if  you  get  the  fan  back,  I  will  gladly  give  this 
snuff-box  in  exchange.  Here,  take  it.  (Gives  it  to  him.) 

COUNT.  Are  there  diamonds  on  that  fan?  I  didn't 
notice  any. 

EVA.  No,  there  are  no  diamonds.  It  is  of  no  value.  But 
it  is  precious  to  me. 

COUNT.     I  will  see  if  I  can  do  you  this  favor. 

EVA.  I  beg  you  to  do  so.  I  shall  be  under  the  greatest 
obligation  to  you. 

COUNT.  (Aside.)  I  scarcely  know  how  to  do  it.  (To 
EVARISTO.)  Wait  here,  I  will  do  everything  I  can.  So  you 
wish  me  to  give  the  snuff-box  in  exchange? 

EVA.     Yes,  certainly,  give  it. 

COUNT.  (Starting  toward  the  apothecary's.)  Wait 
here.  But  supposing  the  person  gives  me  back  the  fan, 
and  will  not  take  the  snuff-box? 

EVA.  Signore,  I  have  given  the  snuff-box  to  you.  It  is 
yours.  Do  with  it  whatever  you  like. 

COUNT.     Absolutely  ? 

EVA.     Absolutely. 

COUNT.  (Aside.)  The  Baron  is  a  gentleman,  and  he 
is  my  friend.  (To  EVARISTO.)  Wait  here.  (Aside.)  If 
it  was  the  fifty  sequins,  I  would  not  accept  them;  but  a 
gold  snuff-box !  Oh,  yes,  that  is  a  present  that  a  gentleman 
may  take.  (Exit.) 

EVA.  To  get  back  to  the  favor  of  my  lady  I  would 
sacrifice  even  my  life. 


ACT  THIRD.     SCENE  XI. 

CRESPINO.      (Entering    from    SUSANNA'S    shop.)      Oh, 
there  he  is.      (To   EVARISTO.)      Good-day,   sir.     Signora 


84  IL   VENTAGLIO. 

Gertrude  would  like  to  speak  with  you.  She  is  here  in 
Susanna's  house,  and  begs  you  to  be  kind  enough  to  go  in 
and  speak  to  her. 

EVA.  Tell  Signora  Gertrude  that  I  will  be  with  her  to 
receive  her  commands  in  a  moment.  I  beg  her  to  wait  until 
I  see  whether  someone  is  coming  to  speak  to  me,  and  then 
I  will  go  to  her  at  once. 

CRES.  Very  good,  sir.  How  do  you  feel?  Are  you 
better? 

EVA.     Thank  Heaven,  I  am  much  better. 

CRES.     I  am  very  glad  of  that.    And  is  Giannina  well  ? 

EVA.     I  believe  so. 

CRES.     Giannina  is  a  good  girl. 

EVA.     Yes,  indeed ;   and  she  is  devoted  to  you. 

CRES.     I  love  her,  too ;  but  .... 

EVA.     But  what? 

CRES.     I  have  heard  said  .... 

EVA.     You  have  heard  something  about  me? 

CRES.     Yes,  sir,  just  so. 

EVA.  My  good  man,  do  not  worry  about  that.  There  is 
nothing  between  Giannina  and  me. 

CRES.     Oh,  I  am  sure  of  it.    It  was  nothing  but  gossip. 

EVA.  Go  to  Signora  Gertrude,  and  tell  her  that  I  am 
coming  at  once. 

CRES.  Yes,  sir.  I  feel  better  now,  I  believe  everything 
is  all  right.  (To  the  COUNT,  who  enters  from  apothe- 
cary's.) I  recommend  myself  to  you. 

COUNT.     You  may  depend  upon  my  protection. 

CRES.     I  can  scarcely  wait.  (Exit.) 

EVA.    Well,  Count? 

COUNT.     Here  is  the  fan. 

EVA.  (Taking  it.)  Oh,  what  joy!  I  am  infinitely 
obliged  to  you. 


IL   VENTAGLIO.  85 

COUNT.     See  whether  it  is  yours. 

EVA.     Yes,  yes,  it  is  certainly  mine. 

COUNT.     And  the  snuff-box? 

EVA.     That's  all  right.    I  am  greatly  indebted  to  you. 

(Exit.) 

COUNT.  That  shows  what  it  is  not  to  understand  things. 
I  thought  it  was  an  ordinary  fan,  and  it  seems  to  be  so 
valuable!  It  is  so  valuable  that  in  exchange  for  it  this 
gold  snuff-box  is  given.  (Takes  some  snuff.)  Evaristo 
would  not  take  it  back.  It  is  possible  that  the  Baron  would 
not  have  been  willing  to  receive  it.  He  was,  in  fact,  a 
little  disgusted  when  I  asked  him  to  give  back  the  fan ;  but 
I  told  him  that  I  would  present  it  to  Candida  in  his  name, 
and  then  he  calmed  down.  I  will  buy  one  for  a  few  pennies, 
which  will  do  just  as  well. 

CRES.  (Entering.)  It  is  fortunate  that  my  commission 
turned  out  so  well.  I  am  glad  to  do  a  favor  for  Signora 
Gertrude.  Oh,  Signer  Count,  then  you  give  me  good  hope  ? 

COUNT.  The  best  of  hope.  This  is  a  lucky  day  for  me. 
Everything  goes  just  right. 

CRES.     I  hope  this  will  go  right. 

COUNT.  Yes,  surely  it  will.  Wait.  (Calling.)  Eh, 
Giannina ! 

GIA.  (From  her  house.)  What  is  it,  sir?  (Seeing  the 
COUNT,  angrily.)  What  do  you  want? 

COUNT.  Don't  go  into  a  rage.  Don't  show  such  temper, 
I  want  to  help  you  along,  and  get  you  a  husband. 

GIA.     I  have  no  need  of  your  help. 

CRES.     (To  the  COUNT.)     Do  you  hear? 

COUNT.  (To  CRESPINO.)  Wait  a  moment.  (To  GIAN- 
NINA.) I  want  to  get  you  a  husband  of  my  own  choice. 

GIA.     And  I  tell  you  that  I  refuse. 

COUNT.     The  man  I  want  to  give  you  is  Crespino. 


86  IL   VENTAGLIO. 

GIA.     (Pleased.)     Crespino? 
COUNT.     Yes.    What  do  you  say  to  that? 
GIA.     I  say  yes,  sir,  with  all  my  heart. 
COUNT.     (To   CRESPINO.)      You  see  the  effect  of  my 
protection. 

CRES.     Yes,  sir,  I  see  it. 


ACT  THIRD.     SCENE  XII. 

MOR.     (Entering.)     What  are  you  doing  here? 

GIA.     None  of  your  business. 

COUNT.  Giannina  is  going  to  be  married  under  my  pro- 
tection. 

MOR.  Very  well,  sir,  that  is  all  right.  (To  GIANNINA.) 
You  will  consent,  whether  you  like  it  or  not. 

GIA.     Oh  yes,  I  will  gladly  consent. 

MOR.     So  much  the  better  for  you. 

GIA.  And  to  show  you  plainly  that  I  consent,  I  give 
my  hand  to  Crespino. 

MOR.     What  does  this  mean  ? 

COUNT.     (Calmly.)     That  is  all  right. 

MOR.  (With  force.)  But,  Signer  Count,  you  had 
promised  to  use  your  influence  for  Coronato. 


ACT  THIRD.     SCENE  XIII. 

COR.     (Entering  from  inn.)     Who  called  me? 

MOR.  Come  and  see  here.  The  Count  wishes  my  sister 
to  marry  .... 

COR.     (Uneasily.)     Signor  Count? 

COUNT.  I  am  a  man  of  justice  and  a  reasonable,  well- 
disposed  protector.  Giannina  does  not  wish  to  marry  you; 
I  cannot  and  will  not  force  her  to  do  it  against  her  will. 


IL  VENTAGLIO.  87 

GIA.  Yes,  sir.  I  am  going  to  have  Crespino  in  spite  of 
you  all. 

COR.     (To  MORACCHIO.)     What  do  you  say  to  that? 

MOR.     (To  CORONATO.)     What  do  you  say? 

COR.  I  don't  care  a  snap  of  my  finger.  If  she  does  not 
want  me,  she  does  not  deserve  me. 

GIA.     That  is  the  way  to  talk. 

COUNT.  (To  CRESPINO.)  You  see  the  effect  of  my 
protection. 

COR.     Signor  Count,  I  sent  you  that  other  barrel  of  wine. 

COUNT.  Bring  me  the  bill,  I  will  pay  you.  (He  takes 
snuff  from  the  golden  snuff-box.) 

COR.  (Aside.)  He  has  a  gold  snuff-box.  He  will 
pay  me.  (Exit.) 

MOR.  (To  GIANNINA.)  So  you  decided  to  take  the 
matter  into  your  own  hands? 

GIA.     So  it  seems. 

MOR.  If  you  live  to  regret  it,  so  much  the  worse  for 
you. 

COUNT.  She  will  never  regret  it;  she  will  have  my 
protection. 

MOR.     Bread  is  what  we  want,  not  protection.       (Exit.) 

COUNT.     Well,  then,  when  shall  the  wedding  be? 

CRES.     As  soon  as  possible. 

GIA.     Or  even  sooner! 


ACT  THIRD.     SCENE  XIV. 

BARON.  (Entering.)  Well,  Signor  Count,  have  you 
seen  Signora  Candida  ?  Have  you  given  her  the  fan  ?  Tell 
me,  why  were  you  not  willing  that  I  should  give  it  to  her 
myself  ? 

GIA.     (Aside.)     What  is  this?    Did  not  Signor  Evaristo 

have  it? 


88  IL  VENTAGLIO. 

COUNT.  I  have  not  seen  Signora  Candida  yet.  As  for 
the  fan,  I  have  some  others.  Indeed,  I  have  decided  to 
give  her  a  better  one.  Oh,  here  comes  Signora  Gertrude. 


ACT  THIRD.     SCENE  XV. 
Enter  GERTRUDE,  EVARISTO  and  SUSANNA  from  the  shop. 

GER.  (To  SUSANNA.)  Be  so  good  as  to  ask  my  niece 
to  come  down,  and  tell  her  that  I  have  something  to  say 
to  her. 

Sus.  With  pleasure.  (Knocks  at  door  of  palace  and  is 
admitted. ) 

GER.  (To  EVARISTO.)  I  would  rather  not  have  the 
Count  and  the  Baron  go  into  my  house.  For  the  present 
we  can  talk  here. 

COUNT.  Signora  Gertrude,  the  Baron  and  I  were  just 
going  to  call  upon  you. 

GER.  Very  kind  of  you,  but  this  is  my  hour  for  walking. 
I  want  to  stay  out  of  doors  for  a  while. 

BARON.     Good-day,  Signer  Evaristo. 

EVA.     (Turning  his  back.)     I  am  your  servant. 


ACT  THIRD.     SCENE  XVI. 
Enter  CANDIDA  and  SUSANNA  from  palace. 

CAN.  What  do  you  wish,  aunt? 

GER.  Come  and  take  a  few  steps  with  me. 

CAN.  (Aside.)     Oh,  there  is  the  faithless  Evaristo. 

GER.  (To  CANDIDA.)  Why  have  you  no  fan  in  your 
hand? 

CAN.  Don't  you  remember  that  my  fan  was  broken  this 
morning? 


IL   VENTAGLIO.  89 

GER.  Oh,  yes,  that  is  true.  Perhaps  we  can  find 
another. 

BARON.  (To  the  COUNT.)  Now  is  the  time  to  give  her 
that  fan. 

COUNT.     (To  the  BARON.)     No,  no,  not  in  public. 

GER.     Signer  Evaristo,  have  you  one,  by  chance? 

EVA.  (Showing  the  fan.)  Here  it  is,  at  your  disposi- 
tion. 

BARON.     (To  COUNT.)     Is  this  your  fan? 

COUNT.     (To  BARON.)     Diavolo!    Certainly  not. 

BARON.     (To  COUNT.)     Well,  bring  it  out! 

COUNT.     No,  not  now. 

GER.     My  niece,  will  you  not  speak  to  Signer  Evaristo  ? 

CAN.  No,  signora,  excuse  me,  I  have  nothing  to  say  to 
him. 

COUNT.  (To  BARON.)  You  see,  she  will  not  take  that 
one. 

BARON.     (To  COUNT.)     Come,  give  me  your  fan. 

COUNT.  (To  BARON.)  Do  you  wish  to  get  into  a  row 
and  have  a  duel? 

GER.  Might  I  ask  why  you  are  not  willing  to  receive 
that  fan  from  Signer  Evaristo? 

CAN.  (With  affectation.)  Because  it  is  not  mine. 
Because  it  was  never  intended  for  me.  There  is  no  reason 
why  I  should  take  it. 

GER.     Signor  Evaristo,  now  is  the  time  to  explain. 

EVA.     I  will  do  so  if  I  am  allowed. 

CAN.     (Wishing  to  go.)     Excuse  me. 

GER.     I  command  you  to  stay  here. 

BARON.     (To  COUNT.)     What  does  all  this  mean? 

COUNT.     I  haven't  the  faintest  idea. 

EVA.     Signora  Susanna,  do  you  recognize  this  fan? 


9°  IL   VENTAGLIO. 

Sus.  Certainly,  sir.  It  is  the  one  which  you  bought 
from  me  this  morning,  and  which  I  was  foolish  enough  to 
think  you  intended  for  Giannina. 

GIA.  Yes,  I  like  that!  You  certainly  were  foolish 
enough ! 

Sus.  Yes;  I  admit  my  mistake,  and  you  should  learn 
from  me  to  confess  the  truth.  It  is  true  that  I  had  some 
reason,  because  Signor  Evaristo  did  give  it  to  you. 

EVA.     (To  GIANNINA.)     Why  did  I  give  you  the  fan? 

GIA.  For  me  to  give  to  Signora  Candida.  But  when  I 
wished  to  give  it  to  her,  she  flew  into  a  rage  and  would 
not  let  me  say  a  word;  then  I  wanted  to  give  it  back  to 
you,  but  you  would  not  take  it,  and  I  gave  it  to  Crespino. 

CRES.     And  I  fell  down  with  it,  and  Coronato  took  it. 

EVA.  Where  is  Coronato?  How  did  it  get  out  of  his 
hands  ? 

CRES.  Let  us  not  call  him.  Since  he  is  not  here,  I  will 
tell  the  truth.  I  went  into  the  inn  to  get  some  wine,  I  saw 
the  fan  lying  there,  and  I  took  it  away  with  me. 

EVA.     What  did  you  do  with  it  then? 

CRES.     I  gave  it  to  the  Signor  Count. 

COUNT.     And  I  presented  it  to  the  Signor  Baron. 

BARON.  (Indignantly.)  Yes,  and  then  you  asked  for  it 
back  again! 

COUNT.  Yes,  and  I  put  it  again  into  the  hands  of  Signor 
Evaristo. 

EVA.  And  I  offer  it  to  Signora  Candida.  (CANDIDA 
takes  the  fan  with  a  courtesy,  smiling.) 

BARON.  (To  COUNT.)  What  is  the  meaning  of  this 
scene  ?  What  is  it  all  about  ?  I  am  in  a  ridiculous  position, 
all  on  account  of  you ! 

COUNT.     I  swear  to  Heaven,  Signor  Evaristo  .... 

EVA.  Come,  come,  Signor  Count,  do  not  be  excited ;  we 
are  good  friends.  Give  me  a  pinch  of  snuff. 


w 


u 


«   u 


IL   VENTAGLIO.  pi 

COUNT.  (Offering  snuff-box.}  That  is  it.  When  they 
treat  me  politely,  I  never  lose  my  temper. 

BARON.     You  do  not  lose  your  temper,  but  I  lose  mine. 

GER.     Signer  Baron! 

BARON.     And  you,  signora,  are  you  making  fun  of  me? 

GER.  I  beg  your  pardon,  you  do  not  understand,  signore. 
I  have  not  failed  in  any  way.  I  have  listened  to  your  pro- 
posal. My  niece,  in  fact,  received  it  favorably,  and  I  agreed 
to  it  with  pleasure. 

COUNT.     Do  you  hear  ?    That  is  because  I  spoke  to  her. 

BARON.  (To  CANDIDA.)  And  you,  signora,  why  did 
you  deceive  me? 

CAN.  I  beg  your  forgiveness.  I  was  torn  between  two 
passions;  vengeance  wished  to  make  me  yours,  but  love 
gives  me  back  to  Evaristo. 

COUNT.     That  was  none  of  my  doing. 

EVA.  (To  BARON.)  If  you  had  been  a  less  hasty  lover, 
and  a  more  sincere  friend  to  me,  you  would  not  have  found 
yourself  in  this  position. 

BARON.  That  is  true.  I  see  my  mistake.  I  will  only 
say  that  I  feel  the  profoundest  contempt  for  the  conduct 
of  the  Count.  (Exit.) 

COUNT.  Oh,  never  mind,  never  mind.  We  are  good 
friends.  He  is  only  joking.  We  aristocrats  understand 
one  another.  Come,  let  us  make  arrangements  for  the 
wedding. 

GER.  Let  us  go  into  the  house.  I  am  sure  that  all  will 
be  satisfactorily  arranged.  (To  CANDIDA.)  Are  you 
pleased  to  have  in  your  hands  that  fan  which  you  were  so 
anxious  to  get  ? 

CAN.  (Fanning  herself.)  I  cannot  express  to  you  how 
happy  I  am. 

GIA.  What  a  remarkable  fan!  It  has  turned  every- 
body's head  from  the  highest  to  the  lowest. 


92  IL  VENTAGLIO. 

CAN.     Is  it  a  Parisian  fan? 

Sus.     Yes,  it  came  from  Paris. 

GER.  Come,  I  invite  you  all  to  dinner.  We  will  drink 
to  the  health  of  the  author,  and  (to  the  audience)  we  offer 
our  humble  thanks  to  those  who  have  honored  us  with 
their  approval. 

CURTAIN. 


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Contract  work  by  month,  term  or  year 

COMMUTATION    TICKET 
WORK  CALLED  FOR  AND  DELIVERED  TO  ANY  PART  OF  THE  CITY 

1125  Chapel,  corner  York  Street  Telephone  30 13 

OPEN  DAY  AND  NIGHT  Telephone  820 

KIRK  &  CO.,  Inc. 
HACKS,  COUPES,  BUSSES,  LIVERY  AND  AUTOMOBILES 

OF  EVERY  DESCRIPTION 
Office  and  Stables :  170  TEMPLE  STREET 


HYPERION  THEATRE     v 

New  Haven's  Leading  Play  House 

SAM.  S.  and  LEE  SHUBERT,  Inc.,  Mgrs.  E.  D.  ELDR1DGE,  Res.  Mgr. 

Playing  only  Standard  Attractions 

YALE    DRAMATIC    ASSOCIATION    PLAYS    PRODUCED    HERE 

OSCAR  F.  BERNNER 
THEATRICAL  and  STREET  WIG  MAKER 

Manufacturer  and  Dealer  in 
GREASE    PA-INTS,    POWDERS,    ROUGES.    Etc. 

105  West  47th  Street 

Between  Broadway  and  Sixth  Avenue,  NEW  YORK 

Wigs  and  Beards  to  Hire 
Telephone,  2631  Bry&nt  Amateur  Performance  Tableaux  Make  Up 

>ETNA  NATIONAL  BANK 

HARTFORD,   CONN. 

Capital  and  Surplus  Profits,  $1,450,000.00 


This  bank  has  superior  facilities  for  furnishing 
and  obtaining  data  concerning  investments 


SMALL,    ACCOUNTS    INVITED 


FOREIGN    CHEQUES    ON    ALL  COUNTRIES 
Free  Safe  Deposit  Boxes  Visitors  Welcome 


ESTABLISHED  1848 


Skinner's  Satin 

(27  and  36  Inches  wide) 

ALWAYS    HAS    THE    NAME    WOVEN    IN    THE 

SELVAGE  AND  IS  GUARANTEED  TO 

WEAR  TWO  SEASONS 

William    Skinner  &  Sons 

Dept.  L,  N.  W.  Cor.  Fourth  Ave.  and  17th  St. 
NEW  YORK  CITY 

MILLS,  HOLYOKE,  MASS. 
NEW  YORK  CHICAGO  PHILADELPHIA  BOSTON 


FOR  SALE 

Pure  Bred  and 
Grade  Guernsey  Cattle 

ISLAND  FARM 
ISLAND     -    -    -     MINN. 

G.  G.  HARTLEY,  Owner 


Address  all  correspondence  to 

JOHN  H.  BLACK,  Superintendent 
ISLAND,  MINN. 


Hotel  Iroquois 

Buffalo,  New  York 

Hotel  Marie  Antoinette 

Broadway  and  66th-67th  Street 
New  York  City 

Grand  Union  Hotel 

Saratoga  Springs,  New  York 

Under  the  Management 

of 
WOOLLEY    &    GERRANS 

THE    DUNCAN    HOTEL 

NEW  HAVEN,  CONN. 

THE  ONLY  FIRST  CLASS  HOTEL 
James  T.  Toole,  Prop. 

THE  SHOREHAM  HOTEL 

Morris  Cove,    New  Haven,  Conn. 

THE  PLACE  TO  BOOK  FOR  COMMENCEMENT 

YALE   DINING  CLUB 

("COMMONS") 

GROVE  AND  COLLEGE  STREETS 

Open  During  Prom  Week  to  all  members  of  the 
University  and  their  guests,  including  ladies 

REGULAR    CHARGES 


y,  Durability, 

Tire  Economy  and  all  /$^    ^^^ 

'round  efficiency  are  desired,  there  /ffi/  " 

is  but  one  tire  to  choose ;  no  other         I/iJ/      i 
will  stand  the  test  with 

REPUBLIC 
STAGGARD  TREAD 

"The  Tire  Perfect" 

Dealers  and  Agencies 

in  the  Principal  Cities 


THE  REPUBLIC  RUBBER  CO. 

Youngstown,  Ohio. 


THE  STRATF1EUD 


BRIDGEPORT,  OOIVIV. 


Main,  Golden  Hill  and  Chapel  Streets.      (Two  Blocks  from  Railway  Station) 

The  Largest  and  Best  Equipped  Hotel  between  New  York  and  Boston 
Unexcelled  accommodations  for  Automobile  Parties 


275  ROOMS 


H.  C.  GRISWOLD,  Manager     250  Rooms  with  Bath 


F.  F.  SMALL  &  CO. 

fire  Insurance 


95  Pearl  Street 


Hartford,  Conn. 


Table  D'Hote  and  a  la  Carte 

Music  for 

LUNCH,  DINNER  AND 
SUPPER 

35=37  Center  Street 

NEW  HAVEN.  CONN. 

MCMILLAN  &  VAN  NESTE 

Successors  to  the  firms  of 

MCMILLAN  BROTHERS  &  VAN  NESTE 
TAILORS 

Paddock  Building  101  Tremont  Street  BOSTON,  MASS. 

ESTABLISHED    189O 

248  AND  250  YORK  STREET 

Dormitory  Exclusive  for 
Academic  Freshmen 

ELECTRIC  LIGHT  ELEVATOR 

PIANOS   AND   MUSIC 

Loomis'  Temple  of  Music 

837  Chapel  Street  New  Haven,  Conn. 


THE   JUNIOR   TATTOO 


A   NEAT   LITTLE  CLOCK   FOR  STUDENTS 

inch  Nickel  Plated  Seamless  Brass  Case.    Bell-metal 

gong  on  back 
ALARMS  INTERMITTENTLY  FOR  FIVE  MINUTES 


THE  UEW  HAVEN  pLOCK  CO. 
NEW  HAVEN  LoNH. 


FOR  CUSTOM  SHIRTS 

that  deserve  the  name  for  the  little  things  as   well  as  for  the  big 

SEE  THE  VERY  MAKERS 

S.  R.  ROBERTS  &  CO. 

1091   Chapel  Street     CUSTOM  SHIRT  MAKERS      New  Haven,  Conn. 
S.  G.  COLBURN,  Proprietor  R.  T.  HALL,  Manager 

COLBURN'S  YORK  PHARMACY 

Corner  York  and  Elm  Streets 

BELLE  MEAD,  WHITMAN'S  AND  ALLEGRETTI'S  CANDIES 

Always  fresh  and  good  as  the  maker  intended 
LET  US  SERVE  YOU 

CURTISS  STUDIO 

1OQO  CHAPEL,  STREET 


Portraits    4*      Frames 


University  of  California 

SOUTHERN  REGIONAL  LIBRARY  FACILITY 

405  Hilgard  Avenue,  Los  Angeles,  CA  90024-1388 

Return  this  material  to  the  library 

from  which  it  was  borrowed. 


DATE 


FEB     8 

1971 

A 

000  518  933 

FEB 

7      ^gy? 

0 

JUNl  5 

1971 

MAY  5 

1971  * 

i 

GAYLORD 

PRINTED  IN  U.S    A. 

